USOO869067OB2

(12) United States Patent (10) Patent No.: US 8,690,670 B2 Kay et al. (45) Date of Patent: Apr. 8, 2014

(54) SYSTEMS AND METHODS FOR 3,897,711 A 8/1975 Elledge SIMULATING A ROCK BAND EXPERIENCE D245,038 S 7, 1977 Ebata et al. D247,795 S 4, 1978 Darrell 4,128,037 A 12/1978 Montemurro (75) Inventors: Robert Kay, San Francisco, CA (US); D259,785 S 7/1981 Kushida et al. Ryan Lesser, Providence, RI (US); 4,295.406 A 10, 1981 Smith et al. Gregory B. LoPiccolo, Brookline, MA D262,017 S 1 1/1981 Frakes, Jr. (US); Daniel Schmidt, Somerville, MA (Continued) (US); Kevin Morris McGinnis, Boson, MA (US); Nathan H. Wright, Newton, FOREIGN PATENT DOCUMENTS MA (US) DE 19716937 A1 3, 1998 (73) Assignee: Harmonix Music Systems, Inc., EP 0903169 A2 3, 1999 Cambridge, MA (US) (Continued) (*) Notice: Subject to any disclaimer, the term of this OTHER PUBLICATIONS patent is extended or adjusted under 35 U.S.C. 154(b) by 1307 days. Association of British Scrabble Players. “Rolling System” (No Date). ABSP url:. (22) Filed: Jun. 16, 2008 (Continued) (65) Prior Publication Data Primary Examiner — Steve Rowland (74) Attorney, Agent, or Firm — Wilmer Cutler Pickering US 2009/O104956 A1 Apr. 23, 2009 Hale and Dorr LLP Related U.S. Application Data (57) ABSTRACT (60) Provisional application No. 60/944.054, filed on Jun. 14, 2007. Systems and methods for indicating the performance of a plurality of players playing a video game simulating a rock (51) Int. Cl. band experience may include: calculating a player score for A63F 9/24 (2006.01) each player playing a rhythm action game within aband, each (52) U.S. Cl. player score representing the performance level of a particu USPC ...... 463/31: 463/7: 463/36 lar player, calculating a composite score for the band playing (58) Field of Classification Search a rhythm action game, the composite score based in part on a USPC ...... 463/7, 31, 36 performance level associated with each player within the See application file for complete search history. band; displaying the composite score on a performance meter as a performance level; and displaying each player score on (56) References Cited the performance meteras a graphical indication positioned on the meter at a position corresponding to the calculated player U.S. PATENT DOCUMENTS SCO. D211,666 S 7/1968 MacGillavry 3.430,530 A 3, 1969 Grind et al. 21 Claims, 42 Drawing Sheets

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US 8,690,670 B2 1. 2 SYSTEMS AND METHODS FOR example, in the DRUMMANIA series of games published by SIMULATING A ROCK BAND EXPERIENCE Konami, players provided input via a number of drum pads and a foot pedal. Foot pedal actions were signified by a RELATED APPLICATIONS Sub-lane containing cues shaped like feet. In some single-player rhythm action games, such as the The present application claims priority to U.S. Provisional GUITAR HERO series, it is possible for a player to “fail” Application Ser. No. 60/944,054, filed Jun. 14, 2007 and midway through a song. That is, if the player's performance titled “Systems and Methods for Simulating a Rock Band falls below a given threshold, the player may be prevented Experience.” and which is hereby explicitly incorporated by from completing the song. Such a failure may be accompa reference herein. 10 nied by Sounds of the music stopping, the crowd booing, and images of the band stopping the performance. This possibility FIELD OF THE INVENTION of failure may enhance a game by providing more serious consequences for poor performance than simply a lower The present invention relates to rhythm action games, and, score: if a player wants to complete a song to the end, the more specifically, video games which simulate the experience 15 player must satisfy a minimum standard of performance. of playing in a band. Adapting this failure mechanic to a multiplayer game pre sents a challenge, as the enhanced incentives for good perfor BACKGROUND OF THE INVENTION mance may be desired, but it may be undesirable for one player to remain inactive for long periods of time while others Music making is often a collaborative effort among many are playing a song. musicians who interact with each other. One form of musical In many cases players may wish to play rhythm action interaction may be provided by a known as games online, either cooperatively or competitively, with “rhythm-action, which involves a player performing phrases remote players. Thus there exists a need for efficient ways of from a pre-recorded musical composition using a video matching remote players of rhythm action games. game's input device to simulate a musical performance. If the 25 player performs a sufficient percentage of the notes or cues SUMMARY OF THE INVENTION displayed, he may score well and win the game. If the player fails to perform a Sufficient percentage, he may score poorly The present disclosure broadly relates to video games and lose the game. Two or more players may compete against which may be used to simulate a rock band experience. each other, Such as by each one attempting to play back 30 In one aspect the present invention relates to systems and different, parallel musical phrases from the same song simul methods for indicating the performance of a plurality of play taneously, by playing alternating musical phrases from a ers playing a video game simulating a rock band experience. Song, or by playing similar phrases simultaneously. The In one embodiment, a method may include: calculating a player who plays the highest percentage of notes correctly player score for each player playing a rhythm action game may achieve the highest score and win. Two or more players 35 within a band, each player score representing the perfor may also play with each other cooperatively. In this mode, mance level of a particular player, calculating a composite players may work together to playa Song, Such as by playing score for the band playing a rhythm action game, the com different parts of a song, either on similar or dissimilar instru posite score based in part on a performance level associated ments. One example of a rhythm-action game is the GUITAR with each player within the band; displaying the composite HERO series of games published by RedOctane and Activi 40 score on a performance meter as a performance level; and Sion. Another example of a rhythm-action game is the displaying each player score on the performance meter as a KARAOKE REVOLUTION series of games published by graphical indication positioned on the meter at a position Konami. corresponding to the calculated player score. Past rhythm action games that have been released for home In a second aspect, the present invention relates to systems consoles have utilized a variety of controller types. For 45 and methods for allowing players in a band to reinstate a example, GUITAR HERO II, published by RedOctane, could member of the band who has failed a given song during a be played with a simulated guitar controller or with a standard game. Broadly, band members may use their own perfor game console controller. mance during a song to reinstate a band member who has A rhythm action-game may require a number of inputs to failed during the course of the song. Once aband member has be manipulated by a player simultaneously and in Succession. 50 failed, options are given to other members of the band who Past rhythm action games have utilized lanes divided into have achieved a predetermined bonus or performance level to Sub-lanes to indicate actions. In these games, a lane is divided save the fallen band member. Once saved, the failed member into a number of distinct Sub-lanes, with each sub-lane cor returns to normal play of the song. In this manner, failure still responding to a different input element. For example, a lane has the consequence of removing a player from a song at least for a player might be divided into five sub-lanes, with each 55 temporarily, and perhaps permanently if bandmates are Sub-lane containing cues corresponding to a different one of unable or unwilling to save the fallen member. However, by five fret buttons on a simulated guitar. As cues appear in each providing the option of reinstatement, band members can of the Sub-lanes, a player must press the appropriate corre prevent their friends from long stretches of inactivity follow sponding fret button. ing a failure. This may have the added benefit of encouraging In some cases, the Sub-lanes are laid out to correspond to a 60 band members to perform strongly in order to be able to save linear set of input elements. For example, a lane may be their friends. divided into five sub-lanes, each Sub-lane containing redcues, In one embodiment; a method for reinstating a player green cues, yellow cues, blue cues and orange cues, respec within a rhythm action game includes: changing the status of tively, to correspond to a guitar having a linear arrangement of a first player of a rhythm-action game from an active play a red button, green button, yellow button, blue button and 65 status to an inactive play status during a performance of a orange button. Displaying cues may be more challenging in Song; determining a value, associated with a second player of instances where input elements are not linearly arranged. For the rhythm-action game, exceeds a predetermined threshold; US 8,690,670 B2 3 4 detecting an action of the second player, the action generated attempt to use an incorrect or non-existent input. In one via manipulation of an input device by the second player; and embodiment, a method for displaying a foot-pedal cue in a reinstating the first player, in response to the determined value rhythm-action game includes: displaying, to a player of a and the detected action, to an active play status during the rhythm-action game, a lane divided into at least two Sub performance of the song. In some embodiments, a bonus may lanes, each sub-lane containing cues indicating a drum input be subtracted from the second player as a cost of the reinstate element; and displaying, to the player, an additional cue Span ment. ning a plurality of the Sub-lanes, the additional cue indicating In some embodiments, a total performance level for the a foot pedal action. In some embodiments, the additional cue band may be drained during the time a player is inactive, may span all the Sub-lanes. In some embodiments, the addi providing additional incentive for aband mate to reinstate the 10 tional cue may be a different color than other cues. In some failed player. embodiments, each Sub-lane may contain cues indicating a In a third aspect, the present invention relates to systems drum input element of a set of linearly arranged drum input and methods for allowing players of a rhythm action game to elements. play improvisational sections during gameplay. In one In another embodiment, a method for displaying cues in a embodiment, a method for providing improvisational Vocal 15 rhythm-action game to indicate a specific input element sections of a song during a rhythm action game comprises: includes: displaying, to a player of a rhythm-action game, a identifying that a value associated with a vocalist's perfor lane divided into X sub-lanes, each Sub-lane containing cues mance of a song in a rhythm action game exceeds a first indicating a unique one of a set of X input actions; and predetermined threshold; providing, in response to the iden displaying, to the player, an additional cue spanning a plural tifying, a Vocal improvisational section during the song; ity of the Sub-lanes, the additional cue indicating a first input determining, that Sound data from a microphone assigned to action not in the set of Xinput actions. In some embodiments, the Vocalist exceeds a second predetermined threshold during each of the set of X input actions corresponds to an input the improvisational section; and deploying, in response to the element in a linear arrangement, and the first input action determining, a bonus. In some embodiments, the improvisa corresponds to an input element not in the linear arrangement. tional sections may be provided during portions of a song 25 In some embodiments, each of the set of X input actions with no vocals. identifies a fret button be depressed in combination with a In a fourth aspect, the present invention relates to systems strum, and the first input action corresponds to an open strum. and methods for creating and using simulated guitar control In a sixth aspect, the present invention relates to systems lers. In one embodiment a five-way switch may be included and methods for accepting Vocal input in a video game. In one on a simulated guitar controller. In other embodiments, pres 30 embodiment, phoneme detection may be used to determine if Sure sensitive fret buttons may be incorporated into a simu a player is singing approximately correct lyrics. In other lated guitar controller. embodiments, a vocalist may serve as a secondary percus In a fifth aspect, the present invention relates to systems Sionist during a song by providing input simulating a percus and methods for creating and using simulated drum sets in sion instrument Such as a tambourine or cowbell. In one rhythm action games. In one embodiment, a simulated drum 35 embodiment, a method for combining Vocal cues and percus set may comprise a foot pedal using a contactless Switch. In sion cues for a player of a rhythm action game during a song still another embodiment, a video game may allow a user to comprises: displaying, in a rhythm action game, a lane com navigate menu items using a simulated drum set. In still prising cues corresponding to a Vocal track of a song; display another embodiment, a video game may reassign different ing, on the lane during the song, at least one cue correspond percussion Sounds to drum pads during the course of a single 40 ing to a percussion element of the song; evaluating, with a first SOng. gameplay mechanic, a player's performance with respect to In another embodiment, a video game may indicate a foot the cues corresponding to a Vocal elements; and evaluating, pedal is to be used through the use of one or more special gem with a second gameplay mechanic, the player's performance indicators. Broadly speaking, for rhythm action games, a with respect to the cues corresponding to the percussion ele display in which musical cues are confined to distinct Sub 45 ment. Such a method may be used to keep a vocalist engaged lanes may not be optimal for all types of input devices. For during portions of a song with no vocals. example, if a simulated drum set contains a number of drum In a seventh aspect, the present invention relates to systems pads and foot pedal, the foot pedal may be neither “to the left and methods for matching remote players of a video game nor “to the right of the drum pads. Thus, there may not be a into bands for purposes of playing Songs. Broadly speaking, logical way to map the foot-pedal input cues to a linear series 50 bands may require certain instrumentation, and one object of of sublanes. For example, it may be natural to display cues for the invention is to efficiently match remote players or groups four linearly arranged drum pads contained in four corre of players to quickly form bands with the desired instrumen sponding Sub-lanes. However, ifa foot-pedal cue is displayed tation for a song and/or session of a game. For example, in a Sub lane to the right of the Sub-lane corresponding to the players may playas bands featuring a guitarist, a bassist, a furthest-right drum pad, it may have the undesirable effect of 55 drummer, and a Vocalist, and matchmaking methods may be confusing a player into attempting to strike a drum pad that used to allow players to play with others remotely according does not exist. While, as mentioned above in the context of to the needed instrumentation. DRUMMANIA, cues for foot-pedal actions can be specially In one embodiment; a method for matching Suitable remote colored or shaped to somewhat mitigate this confusion poten players to one or more local players of a rhythm-action game tial, a player is still faced with a linear display of a number of 60 includes: identifying one or more local players to participate Sub-lanes that does not logically map to the input devices the in a networked session of a rhythm action game correspond player is given. ing to a predetermined band template, each local player asso The present disclosure addresses this problem by introduc ciated with a type of simulated musical instrument. A first ing cues that span a plurality or all of the Sub-lanes contained type of simulated musical instrument represented in the pre within a lane. These larger cues are more difficult to mistake 65 determined band template and not associated with any of the for cues indicating one of a number of linear input elements, one or more local players may then be identified, along with and may thus be less likely to cause players to mistakenly a remote player associated with the first type of simulated US 8,690,670 B2 5 6 musical instrument. A game session may then be provided instrument type, a first collection of level data corresponding including or more local players and the identified to the first simulated musical instrument type; and providing, remote player. by the game, a session of a rhythm-action game with the In an eighth aspect, the present invention relates to systems selected collection of level data. and methods for providing a simulated world tour available to 5 Computer readable media having executable code for bands and Solo players playing a video game simulating a implementing any of the above methods, functions, and fea rock band experience. tures may also be provided. In a ninth aspect, the present invention relates to systems and methods for allowing players of a game to create mer BRIEF DESCRIPTION OF THE DRAWINGS chandise corresponding to an in-game character, group of 10 characters, or band. The foregoing and other objects, aspects, features, and In a tenth aspect, the present invention relates to a video advantages of the invention will become more apparent and game simulating a rock band experience which provides dif better understood by referring to the following description ferent gameplay content and experiences depending upon a taken in conjunction with the accompanying drawings, in simulated instrument controller type detected by the game. 15 which: For example, the user experience if a simulated drum set is FIG. 1A is an example of one embodiment of a screen connected to the game console may be very different than if a display of players emulating a musical performance; simulated guitar is connected to the game console. For FIG.1B is a block diagram of a system facilitating network example, a game may provide a certain song list if the player play of a rhythm action game; has plugged in a simulated drum set, but provide a different FIG. 1C is a example of one embodiment of a screen Song list if a player has connected a simulated guitar to the display for remote multiplayer play; platform. In this way, a single game can be sold that allows FIG. 1D depicts an indicator of the performance of a num users to select among a plurality of unique instrumental expe ber of players on a single performance meter, riences. Or, for example, a player who wants to experience the FIG. 2 depicts one embodiment of a method for allowing game as a Vocalist may plugin a microphone and be presented 25 members of a band to resuscitating a band mate who has with a gameplay scenario in which the player must Success failed a song; fully sing the pitches and/or words to a song. The same player FIG. 3A depicts embodiments of lane displays which may may then decide to experience the game as a drummer, con indicate improvisational sections in music; nect a simulated drum set in place of the microphone, and be FIG. 3B illustrates a flow diagram of a method for award presented with a gameplay mechanic in which the player must 30 ing a bonus in response to a Successful execution of a unison successfully strike the pads of the drum set in time with the Sequence; music. The game may be sold in a package with each of a FIG. 3C is an example screenshot where players are plurality of instrument types, or the instruments may be sold allowed to improvise to accumulate a bonus; separately from the game. FIGS. 4A, 4B, 4C, 4D, 4E and 4F are embodiments of a In one embodiment, a method for altering game content 35 simulated guitar controller for use with a video game; responsive to detecting a type of controller used by a player of FIG. 4G depicts an embodiment of a guitar controller with a rhythm action game comprises: detecting, by a game a 5-way switch; executing on a game console, that a first simulated musical FIG. 4H depicts a side view of one embodiment of a 5-way instrument type of a plurality of simulated musical instrument switch; types is connected to the game console; selecting, by the 40 FIG. 4I is an example screen display in which a player uses game in response to the detection, a first song progression a 5-way Switch to select a guitar effect; from a plurality of song progressions, each Song progression FIG. 5A shows an embodiment of simulated drum set for corresponding to a different simulated musical instrument use with a video game; type, and wherein at least two of the song progressions com FIG. 5B illustrates side views of a foot pedal in an up and prise different sequences of Songs; and providing, by the 45 down state; game, a session of a rhythm-action game with the selected FIG. 6A is a flow diagram of one embodiment of a method first Song progression. for combining Vocal cues and percussion cues for a player of In another embodiment, a method for altering game con a rhythm action game during a song. tent responsive to detecting a type of controller used by a FIGS. 6B and 6C illustrate embodiments of a screen dis player of a rhythm action game comprises: detecting, by a 50 play in which a player provides both Vocal and percussive game executing on a game console, that a first simulated input; musical instrument type of a plurality of simulated musical FIG. 7 is a flow diagram of a method for providing impro instrument types is connected to the game console; selecting, visational Vocal sections of a song during a rhythm action by the game from a plurality of collections of level data, each game. collection corresponding to a different simulated musical 55 FIG. 8A is an example screenshot for allowing a band to instrument type, a first collection of level data corresponding choose a set of Songs to play; to the first simulated musical instrument type; and providing, FIG. 8B illustrates one embodiment of a network environ by the game, a session of a rhythm-action game with the ment providing an online multiplayer game simulating a rock selected collection of level data. band experience; In still another embodiment, a method for altering game 60 FIG.9 illustrates one embodiment of a method for allowing content responsive to detecting a type of controller used by a players to purchase real-world merchandise based on player of a rhythm action game comprises: detecting, by a in-game characters and bands; game executing on a game console, that a first simulated FIG. 10 illustrates how a game may produce a different musical instrument type of a plurality of simulated musical gaming experience in response to different hardware; instrument types is connected to the game console; selecting, 65 FIG. 11 is a flow diagram of one embodiment of a method by the game from a plurality of collections of level data, each for altering game content responsive to detecting a type of collection corresponding to a different simulated musical controller used by a player of a rhythm action game; US 8,690,670 B2 7 8 FIGS. 12A and 12B illustrate one embodiment of a game shorter notes and further apart for longer notes), pitch (gems which alters a song progression depending on a type of con placed on the left side of the lane for notes having lower pitch troller attached; and the right side of the lane for higher pitch), Volume (gems FIG. 13A illustrates a flow diagram of a method for altering may glow more brightly for louder tones), duration (gems gameplay mechanic responsive to detecting a type of control may be “stretched to represent that a note or tone is sus ler used by a player of a rhythm action game; tained, such as the gem 127), articulation, timbre or any other FIG. 13B illustrates a flow diagram of a method for altering time-varying aspects of the musical content. The cues may be level data responsive to detecting a type of controller used by any geometric shape and may have other visual characteris a player of a rhythm action game; tics, such as transparency, color, or variable brightness. FIGS. 13C and 13D illustrate one embodiment of a game 10 As the gems move along a respective lane, musical data which alters level data and/or a gameplay mechanic depend represented by the gems may be substantially simultaneously ing on a type of controller attached; played as audible music. In some embodiments, audible FIG. 14 is an illustration of one embodiment of a simulated music represented by a gem is only played (or only played at drum set for use with a video game; full or original fidelity) if a player successfully “performs the FIG. 15A is a flow diagram of a method for displaying a 15 musical content by capturing or properly executing the gem. foot-pedal cue in a rhythm-action game; In some embodiments, a musical tone is played to indicate FIG. 15B is an illustration of one embodiment of display Successful execution of a musical event by a player. In other ing cues spanning a plurality of Sub-lanes; embodiments, a stream of audio is played to indicate Success FIG. 15C is an example screenshot of an embodiment of ful execution of a musical event by a player. In certain displaying cues spanning a plurality of Sub-lanes; embodiments, successfully performing the musical content FIGS. 16A and 16B are example diagrams of alternative triggers or controls the animations of avatars. embodiments of displaying cues spanning a plurality of Sub In other embodiments, the audible music, tone, or stream of lanes. audio represented by a cue is modified, distorted, or otherwise FIG. 17 is an example screenshot of a lane divided into 5 manipulated in response to the player's proficiency in execut Sub-lanes, each corresponding to a fret button on a simulated 25 ing cues associated with a lane. For example, various digital guitar; filters can operate on the audible music, tone, or stream of FIG. 18 is a flow diagram of one embodiment of a method audio prior to being played by the game player. Various for reinstating a player within a rhythm action game; parameters of the filters can be dynamically and automati FIGS. 19 and 20 are example screenshots of a rhythm cally modified in response to the player capturing cues asso action game enabling player reinstatement. 30 ciated with a lane, allowing the audible music to be degraded FIGS. 21A and 21B are flow diagrams of embodiments of if the player performs poorly or enhancing the audible music, methods for matching suitable remote players to one or more tone, or stream of audio if the player performs well. For local players of a rhythm-action game; example, if a player fails to execute a game event, the audible FIGS. 22A and 22B are example screenshots of a game music, tone, or stream of audio represented by the failed event which permits players to form bands with remote players; and 35 may be muted, played at less than full volume, or filtered to FIG. 23 is a flow diagram of a method for displaying a alter its sound. performance meter indicative of one or more performance In certain embodiments, a “wrong note Sound may be levels associated with players and groups of players of a substituted for the music represented by the failed event. rhythm action game. Conversely, if a player Successfully executes a game event, 40 the audible music, tone, or stream of audio may be played DETAILED DESCRIPTION normally. In some embodiments, if the player Successfully executes several. Successive game events, the audible music, Referring now to FIG. 1A, an embodiment of a screen tone, or stream of audio associated with those events may be display for a video game in which four players emulate a enhanced, for example, by adding an echo or “reverb' to the musical performance is shown. One or more of the players 45 audible music. The filters can be implemented as analog or may be represented on screen by anavatar 110. Although FIG. digital filters in hardware, Software, or any combination 1A depicts an embodiment in which four players participate, thereof. Further, application of the filter to the audible music any number of players may participate simultaneously. For output, which in many embodiments corresponds to musical example, a fifth player may join the game as a keyboard events represented by cues, can be done dynamically, that is, player. In this case, the screen may be further subdivided to 50 during play. Alternatively, the musical content may be pro make room to display a fifth avatar and/or music interface. In cessed before game play begins. In these embodiments, one Some embodiments, an avatar 110 may be a computer-gener or more files representing modified audible output may be ated image. In other embodiments, an avatar may be a digital created and musical events to output may be selected from an image, such as a video capture of a person. An avatar may be appropriate file responsive to the player's performance. modeled on a famous figure or, in some embodiments, the 55 In addition to modification of the audio aspects of game avatar may be modeled on the gameplayer associated with the events based on the player's performance, the visual appear aVatar. ance of those events may also be modified based on the Still referring to FIG. 1A, a lane 101102 has one or more player's proficiency with the game. For example, failure to game “cues' 124, 125, 126, 127, 130 corresponding to musi execute a game event properly may cause game interface cal events distributed along the lane. During gameplay, the 60 elements to appear more dimly. Alternatively, successfully cues, also referred to as “musical targets.” “gems.” or 'game executing game events may cause game interface elements to elements.” appear to flow toward a target marker 140,141. In glow more brightly. Similarly, the player's failure to execute Some embodiments, the cues may appear to be flowing game events may cause their associated avatar to appear towards a player. The cues are distributed on the lane in a embarrassed or dejected, while Successful performance of manner having some relationship to musical content associ 65 game events may cause their associated avatar to appear ated with the game level. For example, the cues may represent happy and confident. In other embodiments, successfully note information (gems spaced more closely together for executing cues associated with a lane causes the avatar asso US 8,690,670 B2 10 ciated with that lane to appear to play an instrument. For ticular musical data to be displayed. In addition to musical example, the drummer avatar will appear to strike the correct data, each segment may be textured or colored to enhance the drum for producing the audible music. Successful execution interactivity of the display. For embodiments in which a lane of a number of Successive cues may cause the corresponding comprises a tunnel or other shape (as described above), a avatar to execute a “flourish. Such as kicking their leg, pump cursor is provided to indicate which surface is “active,” that is, ing their fist, performing a guitar “windmill spinning with which lane Surface a player is currently interacting. In around, winking at the “crowd, or throwing drum Sticks. these embodiments, the viewer can use an input device to Player interaction with a cue may be required in a number move the cursor from one surface to another. As shown in of different ways. In general, the player is required to provide FIG. 1A, each lane may also be divided into a number of input when a cue passes under or over a respective one of a set 10 Sub-lanes, with each Sub-lane containing musical targets indi of target markers 140,141 disposed on the lane. For example, cating different input elements. For example, the lane 102 is the player associated with lane 102 (lead guitar) may use a divided into five sublanes, including sub-lanes 171 and 172. specialized controller to interact with the game that simulates Each sub-lane may correspond to a different fret button on the a guitar, such as a Guitar Hero SG Controller, manufactured neck of a simulated guitar. by RedOctane of Sunnyvale, Calif. In this embodiment, the 15 Referring now to FIG. 1B, a second embodiment of a player executes the cue by activating the “strum bar while screen display for a video game in which four players emulate pressing the correct fret button of the controller when the cue a musical performance is shown. In the embodiment shown, 125 passes under the target marker 141. In other embodi the lanes 103. 104 have graphical designs corresponding to ments, the player may execute a cue by performing a “ham gameplay events. For example, lane 103 comprises a flame mer on' or “pull off” which requires quick depression or pattern, which may correspond to a bonus activation by the release of a fret button without activation of the strum bar. In player. For example, lane 104 comprises a curlicue pattern, other embodiments, the player may be required to perform a which may correspond to the player achieving the 6x multi cue using a “whammy bar provided by the guitar controller. plier shown. For example, the player may be required to bend the pitch of In other embodiments, a game display may alternate the a note represented by a cue using the whammy bar. In some 25 display of one or more avatars and/or the display of the band embodiments, the guitar controller may also use one or more as a whole. For example, during the performance of a song, a “effects pedals, such as reverb or fuzz, to alter the sound display may switch between a number of camera angle pro reproduced by the gaming platform. viding, for example, close-ups of the guitarist, bassist, drum In other embodiments, player interaction with a cue may mer, or vocalist, shots of the band as a whole, shots of the comprise singing a pitch and or a lyric associated with a cue. 30 crowd, and/or any combination of the avatars, stage, crowd, For example, the player associated with lane 101 may be and instruments. In some embodiments, the sequence and required to sing into a microphone to match the pitches indi timing of camera angles may be selected to resemble a music cated by the gem 124 as the gem 124 passes over the target Video. In some embodiments, the camera angles may be marker 140. As shown in FIG. 1A, the notes of a vocal track selected to display an avatar of a player who is performing a are represented by “note tubes' 124. In the embodiment 35 distinctive portion of a song. In other embodiments the cam shown in FIG. 1A, the note tubes 124 appear at the top of the era angles may be selected to display an avatar of a player who screen and flow horizontally, from right to left, as the musical is performing particularly well or poorly. In some embodi content progresses. In this embodiment, Vertical position of a ments, an avatar's gestures or actions may correspond to the note tube 124 represents the pitch to be sung by the player; the current camera angle. For example, an avatar may have cer length of the note tube indicates the duration for which the 40 tain moves, such as a jump, headbang, devil horns, special player must hold that pitch. In other embodiments, the note dance, or other move, which are performed when a close-up tubes may appear at the bottom or middle of the screen. The of the avatar is shown. In some embodiments, the avatars arrow 108 provides the player with visual feedback regarding motions may be choreographed to mimic the actual playing of the pitch of the note that is currently being sung. If the arrow the song. For example, if a song contains a section where the is above the note tube 124, the player needs to lower the pitch 45 drummer hits a cymbal crash, the drummer avatar may be of the note being sung. Similarly, if the arrow 108 is below the shown to hit a cymbal crash at the correct point in the song. note tube 124, the player needs to raise the pitch of the note In some embodiments, avatars may interact with the crowd being Sung. In these embodiments, the Vocalist may provide at a venue, and camera angles may correspond to the interac Vocal input using a USB microphone of the sort manufactured tion. For example, in one camera angle, an avatar may be by Logitech International of Switzerland. In other embodi 50 shown pointing at various sections of the crowd. In the next ments, the Vocalist may provide Vocal input using another sort camera angle the various sections of the crowd may be shown of simulated microphone. In still further embodiments, the Screaming, waving, or otherwise interacting with the avatar. Vocalist may provide Vocal input using a traditional micro In other embodiments, avatars may interact with each other. phone commonly used with amplifiers. As used herein, a For example, two avatars may lean back-to back while per 'simulated microphone' is any microphone apparatus that 55 forming a portion of a song. Or for example, the entire band does not have a traditional XLR connector. As shown in FIG. may jump up and land simultaneously, and stage pyrotechnics 1A, lyrics 105 may be provided to the player to assist their may also be synchronized to the band's move. performance. In some embodiments, the “lanes' containing the musical In still other embodiments, a player interaction with a cue cues to be performed by the players may be on screen con may comprise any manipulation of any simulated instrument 60 tinuously. In other embodiments one or more lanes may be and/or game controller. removed in response to game conditions, for example if a As shown in FIG. 1A, each lane may be subdivided into a player has failed a portion of a song, or if a song contains an plurality of segments. Each segment may correspond to some extended time without requiring input from a given player. unit of musical time, such as a beat, a plurality of beats, a Although depicted in FIGS. 1A and 1B, in some embodi measure, or a plurality of measures. Although the embodi 65 ments (not shown), instead of a lane extending from a players ment shown in FIG. 1A show equally sized segments, each avatar, a three-dimensional “tunnel comprising a number of segment may have a different length depending on the par lanes extends from a player's avatar. The tunnel may have any US 8,690,670 B2 11 12 number of lanes and, therefore, may be triangular, square, embodiments, the lane may be represented as a linear element pentagonal, sextagonal, septagonal, octagonal, nonanogal, or of the display, such as a horizontal, Vertical or diagonal ele any other closed shape. In still other embodiments, the lanes ment. do not form a closed shape. The sides may form a road, Still referring to FIG. 1B The player associated with the trough, or some other complex shape that does not have its middle lane 103 (drummer) may also use a specialized con ends connected. For ease of reference throughout this docu trollerto interact with the game that simulates a drum kit, Such ment, the display element comprising the musical cues for a as the DrumMania drum controller, manufactured by Topway player is referred to as a “lane.” Electrical Appliance Co., Ltd. of Shenzhen, China. In some In some embodiments, a lane does not extend perpendicu embodiments, the drum controller provides four drum pads 10 and a kick drum pedal. In other embodiments, the drum larly from the image plane of the display, but instead extends controller surrounds the player, as a “real’ drum kit would do. obliquely from the image plane of the display. In further In still other embodiments, the drum controller is designed to embodiments, the lane may be curved or may be some com look and feel like an analog drum kit. In these embodiments, bination of curved portions and straight portions. In still fur a cue may be associated with a particular drum. The player ther embodiments, the lane may form a closed loop through 15 strikes the indicated drum when the cue 128 passes under the which the viewer may travel, such as a circular or ellipsoid target marker 142, to successfully execute cue 128. In other loop. embodiments, a player may use a standard game controller to It should be understood that the display of three-dimen play, Such as a DualShock game controller, manufactured by sional “virtual space is an illusion achieved by mathemati Sony Corporation. cally "rendering two-dimensional images from objects in a Referring back to FIG. 1A, in some embodiments, impro three-dimensional “virtual space using a “virtual camera.” visational or “fill sections may be indicated to a drummer or just as a physical camera optically renders a two-dimensional any other instrumentalist. In FIG. 1A, a drum fill is indicated view of real three-dimensional objects. Animation may be by long tubes 130 filling each of the sub-lanes of the center achieved by displaying a series of two-dimensional views in lane which corresponds to the drummer. rapid Succession, similar to motion picture films that display 25 In some embodiments, a player is associated with a “turn multiple still photographs per second. table' or “scratch' track. In these embodiments, the player To generate the three-dimensional space, each object in the may provide input using a simulated turntable Such as the three-dimensional space is typically modeled as one or more turntable controller sold by Konami Corporation. polygons, each of which has associated visual features Such Local play may be competitive or it may be cooperative. as texture, transparency, lighting, shading, anti-aliasing. 30 Cooperative play is when two or more players work together in an attempt to earn a combined score. Competitive play may Z-buffering, and many other graphical attributes. The combi be when a player competes against another player in an nation of all the polygons with their associated visual features attempt to earn a higher score. In other embodiments, com can be used to model a three-dimensional scene. A virtual petitive play involves a team of cooperating players compet camera may be positioned and oriented anywhere within the 35 ing against another team of competing players in attempt to scene. In many cases, the camera is under the control of the achieve a higher team score than the other team. Competitive viewer, allowing the viewer to scan objects. Movement of the local play may be head-to-head competition using the same camera through the three-dimensional space results in the instrument, head-to head competition using separate instru creation of animations that give the appearance of navigation ments, simultaneous competition using the same instrument, by the user through the three-dimensional environment. 40 or simultaneous competition using separate instruments. In A Software graphics engine may be provided which Sup Some embodiments, rather than competing for a high score, ports three-dimensional scene creation and manipulation. A players or teams may compete for the best crowd rating, graphics engine generally includes one or more software longest consecutive correct note streak, highest accuracy, or modules that perform the mathematical operations necessary any other performance metric. In some embodiments, com to "render the three-dimensional environment, which means 45 petitive play may feature a "tug-of-war on a crowd meter, in that the graphics engine applies texture, transparency, and which each side tries to “pull a crowd meter in their direction other attributes to the polygons that make up a scene. Graphic by Successfully playing a song. In one embodiment, a limit engines that may be used in connection with the present may be placed on how far ahead one side can get in a com invention include Gamebryo, manufactured by Emergent petitive event. In this manner, even a side which has been Game Technologies of Calabasas, Calif., the Unreal Engine, 50 significantly outplayed in the first section of a song may have manufactured by Epic Games, and Renderware, manufac a chance late in a song to win the crowd back and win the tured by Criterion Software of Austin, Tex. In other embodi event. ments, a proprietary graphic engine may be used. In many In one embodiment; competition in local play may involve embodiments, a graphics hardware accelerator may be uti two or more players using the same type of instrument con lized to improve performance. Generally, a graphics accel 55 troller to play the game, for example, guitar controllers. In erator includes video memory that is used to store image and Some embodiments, each player associates themselves with a environment data while it is being manipulated by the accel band in order to begin play. In other embodiments, each eratOr. player can simply play “solo, without association with a In other embodiments, a three-dimensional engine may not band. In these embodiments, the other instruments required be used. Instead, a two-dimensional interface may be used. In 60 for performance of a musical composition are reproduced by Such an embodiment, video footage of a band can be used in the gaming platform. Each of the players has an associated the background of the video game. In others of these embodi lane and each player is alternately required to perform a ments, traditional two-dimensional computer-generated rep predetermined portion of the musical composition. Each resentations of a band may be used in the game. In still further player scores depending on how faithfully he or she repro embodiments, the background may be only slightly related, 65 duces their portions of the musical composition. In some or unrelated, to the band. For example, the background may embodiments, scores may be normalized to produce similar be a still photograph or an abstract pattern of colors. In these scores and promote competition across different difficulty US 8,690,670 B2 13 14 levels. For example, a guitarist on a “medium difficulty level Referring ahead to FIG. 23, a flow diagram of a method for may be required to perform half of the notes as a guitarist on displaying a performance meter indicative of one or more a “hard difficulty level and, as such, should get 100 points performance levels, such as the performance meter 180 is per note instead of 50. An additional per-difficulty scalar may shown. In brief overview, the method includes: calculating a be required to make this feel “fair.” player score for each player playing a rhythm action game This embodiment of head-to-head play may be extended to within a band, each player score representing the perfor allow the players to use different types of game controllers mance level of a particular player (step 2301); calculating a and, therefore, to perform different portions of the musical composite score for the band playing a rhythm action game, composition. For example, one player may elect to play using the composite score based in part on a performance level a guitar-type controller while a second player may play using 10 associated with each player within the band (step 2303); a drum-type controller. Alternatively, each player may use a displaying the composite score on a performance meter as a guitar-type controller, but one player elects to play “lead performance level (step 2305); and displaying each player guitar” while the other player elects to play “rhythm guitar score on the performance meter as a graphical indication or, in some embodiments, “. In these examples, positioned on the meter at a position corresponding to the the gaming platform reproduces the instruments other than 15 calculated player score (step 2307). the guitar when it is the first player's turn to play, and the lane Calculating a player score representing the performance of associated with the first player is populated with gems repre each player may be done according to any metric (step 2301). senting the guitar portion of the composition. When it is time In some embodiments, a weighted rolling average of a play for the second player to compete, the gaming platform repro er's performance may be used. For example, a player's posi duces the instruments other than, for example, the drum part, tion on the meter may reflect a percentage of notes Success and the second player's lane is populated with gems repre fully hit, where more recent notes are weighted more heavily senting the drum portion of the musical composition. In some than less recent notes. In another embodiment, a players of these embodiments, a scalar factor may be applied to the position on the meter may be calculated by computing a score of one of the player's to compensate for the differences weighted average of the player's performance on a number of in the parts of the musical composition. 25 phrases. In some embodiments, a player's position on the Instill other embodiments, the players may compete simul meter may be updated on a note-by-note basis. In other taneously, that is, each player may provide a musical perfor embodiments, a player's position on the meter may be mance at the same time as the other player. In some embodi updated on a phrase-by-phrase basis. The meter may also ments, both players may use the same type of controller. In indicate any measure of a band's performance. In some these embodiments, each player's lane provides the same 30 embodiments, the meter may display the band's performance pattern of cues and each player attempts to reproduce the as an average of each of the players' performances. In other musical performance identified by those elements more faith embodiments, the indicated band's performance may com fully than the other player. In other embodiments, the players prise a weighted average in which some players perfor use different types of controllers. In these embodiments, one mances are more heavily weighted. player attempts to reproduce one portion of a musical com 35 In some embodiments, a single meter 180 may be used to position while the other player tries to represent a different display the performance level of multiple players as well as a portion of the same composition. band as a whole. A band composite performance level may be In any of these forms of competition, the relative perfor computed in any manner (step 2303). In some embodiments, mance of a player may affect their associated avatar. For a band performance level may comprise an average of the example, the avatar of a player that is doing better than the 40 performance of each player in the band. In other embodi competition may, for example, Smile, look confident, glow, ments, a band performance level may comprise a weighted Swagger, "pogo Stick, etc. Conversely, the losing players average of the performance of each player in the band, with avatar may look depressed, embarrassed, etc. weights being assigned based on difficulty of parts, amount of Instead of competing, the players may cooperate in an notes played recently, and/or any bonuses triggered. attempt to achieve a combined score. In these embodiments, 45 A band performance level may be shown on a meter 180 in the score of each player contributes to the score of the team, any manner (step 2305). In some embodiments, the meter 180 that is, a single score is assigned to the team based on the may comprise subdivisions which indicate relative levels of performance of all players. As described above, a scalar factor performance. For example, in the embodiment shown, the may be applied to the score of one of the players to compen meter 180 is divided roughly into thirds, which may corre sate for the differences in the parts of the musical composi 50 spond to Good, Average, and Poor performance. In some tion. embodiments, a band performance level may be represented Still referring to FIG. 1A, an indicator of the performance as a line or bar on a meter 180. In other embodiments, aband of a number of players on a single performance meter 180 is performance level may be represented as an icon or text on a shown. In brief overview, each of the players in aband may be meter 180. In the embodiment shown in FIG. 1D, a filled bar represented by an icon 181, 182. In the figure shown the icons 55 indicates the band's performance as a whole. In some 181182 are circles with graphics indicating the instrument embodiments, individual performances may not be indicated the icon corresponds to. For example, the icon 181 contains a on a meter, and only the performance of the band as a whole microphone representing the Vocalist, while icon 182 con may be displayed. tains a drum set representing the drummer. The position of a In some embodiments, a player or players in a band may player's icon on the meter 180 indicates a current level of 60 “fail” a song if their performance falls to the bottom of the performance for the player. A colored bar on the meter may meter. In some embodiments, consequences of failing a song indicate the performance of the band as a whole. Although the may include being removed from the rest of the Song. In these meter shown displays the performance of four players and a embodiments, a player who has failed may have their lane band as a whole, in other embodiments, any number of play removed from the display, and the audio corresponding to that ers or bands may be displayed on a meter, including two, 65 player's part may be removed. In some embodiments, if a three, four, five, six, seven, eight, nine, or ten players, and any single member of a band fails a song, the band may conse number of bands. quently fail the song. In other embodiments, if a member of a US 8,690,670 B2 15 16 band fails a song, one or more other members of the band may slices as a player hits a number of notes in a row. Once the continue playing. In still other embodiments, one or more player has filled the disk, the player's multiplier may be other members of a band may reinstate the failed player. increased, and the disk may be cleared. In some embodi Individual player performance levels may be indicated on ments, a player's multiplier may be capped at certain the meter in any manner (step 2307) In the embodiment 5 amounts. For example, a drummer may be limited to a score shown in FIG. 1A, the icons 181, 182 displayed to indicate multiplier of no higher than 4x. Orfor example, a bass player each player may comprise any graphical or textual element. may be limited to a score multiplier of no higher than 6x. In some embodiments, the icons may comprise text with the In some embodiments, a separate performance meter (not name of one or more of the players. In another embodiment shown) may be displayed under the lane of each player. This the icon may comprise text with the name of the instrument of 10 separate performance meter may comprise a simplified indi the player. In other embodiments, the icons may comprise a cation of how well the player is doing. In one embodiment, graphical icon corresponding to the instrument of the player. the separate performance meter may comprise an icon which For example, an icon containing a drawing of a drum 182 may indicates whether a player is doing great, well, or poorly. For be used to indicate the performance of a drummer. Although example, the icon for 'great may comprise a hand showing described above in the context of a single player providing a 15 devil horns, “good’ may be a thumbs up, and “poor may be single type of input, a single player may provide one or more a thumbs down. In other embodiments, a player's lane may types of input simultaneously. For example, a single player flash or change color to indicate good or poor performance. providing instrument-based input (such as for a lead guitar Each player may use a gaming platform in order to partici track, bass guitar track, rhythm guitar track, keyboard track, pate in the game. In one embodiment, the gaming platform is drum track, or other percussion track) and Vocal input simul a dedicated game console, such as: PLAYSTATION2, PLAY taneously. STATION3, or PLAYSTATION PERSONAL, manufactured Still referring to FIG. 1A, meters 150, 151 may be dis by Sony Corporation; , manufactured by played for each player indicating an amount of stored bonus. Corp.; GAMECUBE, GAMEBOY, GAMEBOY The meters may be displayed graphically in any manner, ADVANCE, or WII, manufactured by Corp.; or including a bar, pie, graph, or number. In some embodiments, 25 XBOX or XBOX360, manufactured by Microsoft Corp. In each player may be able to view the meters of remote players. other embodiments, the gaming platform comprises a per In other embodiments, only bonus meters of local players Sonal computer, personal digital assistant, or cellular tele may be shown. Bonuses may be accumulated in any manner phone. In some embodiments, the players associated with including, without limitation, by playing specially designated avatars may be physically proximate to one another. For musical phrases, hitting a certain number of consecutive 30 example, each of the players associated with the avatars may notes, or by maintaining a given percentage of correct notes. connect their respective game controllers into the same gam In some embodiments, if a given amount of bonuses are ing platform ("local play'). accumulated, a player may activate the bonus to trigger an In some embodiments, one or more of the players may in-game effect. An in-game effect may comprise a graphical participate remotely. FIG. 1C depicts a block diagram of a display change including, without limitation, an increase or 35 system facilitating network play of a rhythm action game. As change in crowd animation, avatar animation, performance of shown in FIG. 1C, a first gaming platform 100a and a second a special trick by the avatar, lighting change, setting change, gaming platform 100b communicate over a network 196, or change to the display of the lane of the player. An in-game Such as a local area network (LAN), a metropolitan area effect may also comprise an aural effect, Such as a guitar network (MAN), or a wide area network (WAN) such as the modulation, including feedback, distortion, screech, flange, 40 Internet or the World WideWeb. The gaming platforms con wah-wah, echo, or reverb, a crowd cheer, an increase in Vol nect to the network through one of a variety of connections ume, and/or an explosion or other aural signifier that the including standard telephone lines, LAN or WAN links (e.g., bonus has been activated. An in-game effect may also com T1, T3, 56 kb, X.25), broadband connections (e.g., ISDN, prise a score effect, such as a score multiplier or bonus score Frame Relay, ATM), and wireless connections (e.g., 802.11a, addition. In some embodiments, the in-game effect may last a 45 802.11g Wi-Max). The first gaming platform 100a and the predetermined amount of time for a given bonus activation. second gaming platform 100b may be any of the types of In some embodiments, bonuses may be accumulated and/ gaming platforms identified above. In some embodiments, or deployed in a continuous manner. In other embodiments, the first gaming platform 100a and the second gaming plat bonuses may be accumulated and/or deployed in a discrete form 100b are of different types. manner. For example, instead of the continuous bar shown in 50 When a networked multiplayer game session begins at the FIG. 1A, a bonus meter may comprise a number of “lights” direction of one of the players, that player's gaming platform each of which corresponds to a single bonus earned. A player 100a (the “host') transmits a “start instruction to all other may then deploy the bonuses one at a time. gaming platforms participating in the networked game, and In some embodiments, bonus accumulation and deploy the game begins on all platforms. A timer begins counting on ment may be different for each simulated instrument. For 55 each gaming platform, each player's game cues are dis example, in one embodiment only the bass player may accu played, and each player begins attempting to perform the mulate bonuses, while only the lead guitarist can deploy the musical composition. bonuses. Gameplay on gaming platform 100a is independent from FIG. 1A also depicts score multiplier indicators 160, 161. game play on gaming platform 100b, except that each play A score multiplier indicator 160, 161 may comprise any 60 er's gaming platform contains a local copy of the musical graphical indication of a score multiplier currently in effect event data for all other players. The timers on the various for a player. In some embodiments, a score multiplier may be gaming platforms communicate with each other via the net raised by hitting a number of consecutive notes. In other work 196 to maintainapproximate synchrony using any num embodiments, a score multiplier may be calculated by aver ber of the conventional means known in the art. aging score multipliers achieved by individual members of a 65 The gaming platforms 100a, 100b also continually trans band. For example, a score multiplier indicator 160, 161 may mit game score data to each other, so that each system (and comprise a disk that is filled with progressively more pie player) remains aware of the game score of all other systems US 8,690,670 B2 17 18 (and players). Similarly, this is accomplished by any number In this embodiment, the analyzer module 187a, 187b may of means known in the art. Note that this data is not particu extract musical parameters from the input and transmit them larly timing sensitive, because if there is momentary dis over a network 196 to a remote gaming platform. For agreement between any two gaming platforms regarding the example, the analyzer module 187a, 187b may simply trans score (or similar game-related parameters), the consequences mit the input stream over a network 196 or it may extract the to gameplay are negligible. information into a more abstract form, such as “faster” or In one embodiment, as each player plays the game at their “lower.” Although described in the context of a two-player respective location, an analyzer module 187a, 187b on that game, the technique may be used with any number of players. player's gaming platform 100a, 100 continually extracts data Still referring to FIG. 1C, in another embodiment, analyzer from an event monitor 185a, 185b regarding the local players 10 module 187a, 187b extracts data from the event monitor performance, referred to hereafter as "emulation data'. Emu 185a, 185b regarding the local player's performance. In this lation data may include any number of parameters that embodiment, however, the extracted data is transmitted over describe how well the player is performing. Some examples the network 196 using the transceiver 190a, 190b. When the of these parameters include: analyzer 187a, 187b receives the transmitted data, it gener whether or not the most recent event type was a correctly 15 ates an emulation parameter representing the other players played note or an incorrectly played noted; musical performance and provides the locally-generated a timing value representing the difference between actual emulation parameter to the event monitor 185a, 185b, as performance of the musical event and expected perfor described above. One advantage of this embodiment is that mance of the musical event; each player may locally set their preference for how they want a moving average of the distribution of event types (e.g., the event monitor 185a, 185b to act on emulation parameters. the recent ratio of correct to incorrect notes); In other embodiments, the transmitted data is associated a moving average of the differences between the actual with a flag that indicates whether the transmitted data repre performance of musical events and the expected perfor sents a successfully executed musical event or an unsuccess mance times of the musical events; or fully executed musical event. In these embodiments, the ana a moving average of timing errors of incorrect notes. 25 lyzer 187a, 187b provides a locally-generated emulation Each analyzer module 187a, 187b continually transmits parameter to the event monitor 185a, 185b based on the flag the emulation data it extracts over the network 196 using associated with the transmitted data. transceiver 190a, 190b, each event monitor 185a, 185b con One unusual side effect of these techniques is that each tinually receives the other gaming platforms emulation data local player does not hear an exact reproduction of the remote transmitted over the network 196. 30 players performances; only a statistical approximation. In one embodiment, the emulation data essentially con However, these statistical approximations have two counter tains a statistical description of a player's performance in the vailing positive attributes: because they are synchronized to recent past. The event monitor 185a, 185b uses received the local player's timer and the local copy of the remote emulation data to create a statistical approximation of the players note data, they are synchronous with the local play remote player's performance. 35 er's performance; and while not exact reproductions, they are In one particular example, an incoming emulation param “close enough to effectively communicate to the local player eter from a remote player indicates that the most recent the essence of how well the remote players are performing remote event was correctly reproduced. When the local event musically. In this model, delays in the transmission of the data monitor 185a, 185b reaches the next note in the local copy of over the network 196 do not have the intolerable side effect of the remote player's note data, it will respond accordingly by 40 causing cacophonous asynchronicity between the note "faking a Successfully played note, triggering the appropri streams triggering Sounds on each player's local system. ate sound. That is, the local event monitor 185a, 185b will In other embodiments, a central server may be used to perform the next musical event from the other players musi facilitate communication between the gaming platforms cal event data, even though that event was not necessarily 100a, 100b. Extraction of emulation parameters is per actually performed by the other player's event monitor 185a, 45 formed, as described above. The server distributes data, 185b. If instead the emulation parameter had indicated that whether music performance data or emulation parameter the most recent remote event was a miss, no Sound would be data, to all other gaming platforms participating in the current triggered. game. In other embodiments, the server may store received In another particular example, an incoming emulation data for use later. For example, a band may elect to use the parameter from a remote player indicates that, during the last 50 stored data for the performance of a band member who is 8 beats, 75% of events were correctly reproduced and 25% unavailable to play in a specific game. were not correctly reproduced. When the local event monitor Referring now to FIG. 1D, one embodiment of a screen 185a reaches the next note in the local copy of the remote display for remote multiplayer play is shown. The embodi player's note data, it will respond accordingly by randomly ment of the screen display shown in FIG. 1D may be used for reproducing the event correctly 75% of the time and not 55 head-to-head play, for simultaneous competition, and for reproducing it correctly 25% of the time. cooperative play. As shown in FIG. 1D, a local player's lane In another particular example, an incoming emulation 109 is shown larger than the lanes 106 107 of two remote parameter from a remote player indicates that, during the last players. The avatars for remote players may appear normally 4 beats, 2 events were incorrectly performed, with an average on stage in a similar manner as if the avatars represented local timing error of 50 “ticks.” The local event monitor 185a, 185b 60 players. In other embodiments, the lanes may be displayed in will respond accordingly by randomly generating incorrect a similar manner for both local multiplayer and remote mul events at a rate of 0.5 misses-per-beat, displacing them in time tiplayer. In still other embodiments, in remote multiplayer, from nearby notes by the specified average timing error. only the local player or player's avatars may be shown. The above three cases are merely examples of the many As shown in FIG. 1D, the lanes 106, 107 associated with types of emulation parameters that may be used. In essence, 65 the remote players are shown Smaller than the local players the remote player performances are only emulated (rather lane 109. In other embodiments, the lanes of one or more than exactly reproduced) on each local machine. remote players may be graphically distinguished in any other US 8,690,670 B2 19 20 way. For example, the remote players lanes may be shown a stream of emulation parameters stored during a previous translucently. Or for example, the remote players lanes may performance by the missing band member may be substituted have a higher transparency than local player's lanes. Or the for the player. In other embodiments, an online venue may be remote players’ lanes may be shown in grayscale, or in a provided allowing players to form impromptu bands. different Screen location than local players lanes. In some Impromptu bands may dissolve quickly or they may become embodiments, a remote Vocalists lane may not be shown at persistent bands. all, and instead only the lyrics of the Song may be displayed. Although FIGS. 1A, 1B and 1D show a band comprising In some embodiments, multiple players participate in an one or more , a drummer, and a Vocalist, a band may online face-off between two bands. A "band' is two or more comprise any number of people playing any musical instru players that play in a cooperative mode. In some embodi 10 ments. Instruments that may be simulated and played in the ments, the two bands need to have the same types of instru context of a game may include, without limitation, any per ments at the same difficulty level selection, e.g., a guitarist cussion instruments (including cymbals, bell lyre, celeste, playing on "hard' and a bassist playing on “medium' playing chimes, crotales, glockenspiel, marimba, orchestra bells, against a guitarist playing on "hard' and a bassist playing on steel drums, timpani, vibraphone, Xylophone, bass drum, "medium.” In other embodiments, the two bands still need to 15 crash cymbal, gong, Suspended cymbal, tam-tam, tenor drum, have the same types of instruments but the difficulty selec tom-tom, acme Siren, bird whistle, boat whistle, finger cym tions can be different: Players participating at a lower diffi bals, flex-a-tone, mouth organ, marching machine, police culty level simply have fewer gems to contribute to the overall whistle, ratchet, rattle, sandpaper blocks, slapstick, sleigh score. The song to be played may be selected after the teams bells, tambourine, temple blocks, thunder machine, train have been paired up. Alternatively, a band may publish a whistle, triangle, vibra-slap, wind machine, wood block, challenge to playa particular song and a team may accept the agogo bells, bongo drum, cabaca, castanets, claves, conga, challenge. cowbell, maracas, Scraper, timbales, kick drum, hi-hat, ride For example, a local group of players may formed a band cymbal, siZZle cymbal, Snare drum, and splash cymbal), wind and give their band a name (“The Freqs.'). Each of the four instruments (including piccolo, alto flute, bass flute, contra players in the “The Freqs' is local to one another. They may 25 alto flute, contrabass flute, subcontrabass flute, double con then competing against a team of players located remotely, trabass flute, piccolo clarinet, Sopranino clarinet, Soprano who have formed a band called “The Champs. In some cases clarinet, basset horn, alto clarinet, bass clarinet, contra-alto “The Champs' may each be local to one another. In other clarinet, contrabass clarinet, octocontra-alto clarinet, octo cases, members of “The Champs' may be remote to each contrabass clarinet, Saxonette, Soprillo, Sopranino Saxo other. Each player in “The Freqs' and “the Champs' may see 30 phone, Soprano saxophone, conn-o-Sax, clar-o-Sax, Saxie, a display similar to FIG. 1A or FIG. 1E. However, in some meZZo-soprano saxophone, alto saxophone, tenor saxophone, embodiments, an additional score meter may be displayed baritone saxophone, bass saxophone, contrabass saxophone, showing the score of the other band. In other embodiments, Subcontrabass saxophone, tubax, aulochrome, tarogato, any other measure and indication of performance of a band folgerphone, contrabassoon, tenoroon, piccolo oboe, oboe may be given. For example, in some embodiments, meters 35 d'amore, English horn, French horn, oboe de caccia, bass may be displayed for each band indicating relative perfor oboe, baritone oboe, contrabass oboe, bagpipes, bugle, cor mance, crowd engagement, percentage of notes hit, or any net, didgeridoo, euphonium, flugelhorn, shofar, Sousaphone other metric. In some embodiments, a four-in-one meter 180 trombone, trumpet, tuba, accordion, concertina, harmonica, as depicted in FIG. 1A may be displayed for each band. In harmonium, pipe organ, Voice, bullroarer, lasso d'amore, Some embodiments, avatars from both bands may be depicted 40 whip and siren), other stringed instruments (including harps, on the stage. dulcimer, archlute, arpeggione, banjo, cello, Chapman Stick, In some embodiments, the bands “trade” alternating por cittem, clavichord, double bass, fiddle, slide guitar, Steel gui tions of the musical composition to perform; that is, the tar, harpsichord hurdy gurdy, kora, koto, lute, lyre, mandola, performance of the song alternates between bands. In these , sitar, ukulele, viola, violin, and Zither) and key embodiments, musical performance output from “The 45 board instruments (including accordion, bandoneon, cal Champs' is reproduced locally at the gaming platform used liope, carillon, celesta, clavichord, glasschord, harpsichord, by “The Freqs' when “The Champs' are performing. Simi electronic organ, Hammond organ, pipe organ, MIDI key larly, the musical performance of “The Freqs' is reproduced board, baby grand piano, electric piano, grand piano, janko remotely (using the emulation parameter technique described piano, toy piano, upright piano, viola organista, and spinets). above) at the gaming platform of “The Champs' when “The 50 Referring now to FIG.2, a method for allowing members of Freqs' are performing. In other embodiments, the bands play a band to resuscitating a band mate who has failed a song is simultaneously. In these embodiments, the displayed score shown. In brief overview, the method comprises determining may be the only feedback that “The Freqs' are provided a first player has failed a song (step 201); removing the first regarding how well “The Champs' are performing. player from active participation in the song (step 203); and In some particular embodiments, members of cooperating 55 reinstating the first player in response to a bonus activation bands may be local to one another or remote from one another. from a second player (step 205). Similarly, members of competing bands may be local to one Still referring to FIG. 2, now in greater detail, a game may another or remote from one another. In one example, each make it possible for a member of a band to fail a song midway player is remote from every other player. though the song. A player may be determined to fail a song in In some embodiments, players may form persistent bands. 60 any manner (step 201). In some embodiments, a player may In these embodiments, those bands may only compete when fail a song by missing above an allotted threshold of notes. In at least a majority of the band in available online. In some of other embodiments, a player may fail a song by missing above the embodiments, if a member of a persistent band in not an allotted threshold of consecutive notes. In some embodi online and the other band members want to compete, a gam ments, a player may fail a song by missing one or more ing platform may substitute for the missing band member. 65 specially designated notes or phrases. In other embodiments, Alternatively, a player unaffiliated with the band may substi a player may fail a song by allowing their performance to tute for the missing band member. In still other embodiments, reach the bottom of a meter 180. In still other embodiments, US 8,690,670 B2 21 22 a player may fail a song if their performance is at the bottom performance may be resumed. In some embodiments, the of a meter 180 in excess of a given amount of time. A player reinstated player may be shown with a message “resurrected may be determined to fail a song at any point during a song. or a similar message indicating that the player has returned. In After determining that a player has failed a song, the player other embodiments, the player who saved the failed player may then be removed from active participation in the Song may be shown with a graphic stating 'savior” or a similar (step 203). Removing a player from active participation may message identifying the player as the reinstater of the failed comprise any method of discontinuing a players involvement player. in the performing the song. In some embodiments, a failed A player reinstatement may be indicated graphically and player may no longer attempt to hit notes comprising the aurally in any manner. In some embodiments, a lane corre player's part. In some embodiments, the audio corresponding 10 to the player's part in the band may be silenced. In some sponding to the player that has been removed may reappear. embodiments, the band's overall performance may be In other embodiments, a player's avatar may return to the adversely affected by the failure. For example, a failed band stage, become energized, resume playing their on-screen members performance may be continually given the lowest instrument, or otherwise indicate their reinstatement. In some possible rating, such as for the drummer in FIG. 2. This low 15 embodiments, the crowd may cheer, encourage, or otherwise rating may then pull down the average rating of the band. In indicate renewed approval for the reinstated player. other embodiments, the failed player may continually be Referring now to FIG.3A, in some games it may be desir docked for notes that the player should be playing if not for able to provide players with the feel of improvisational sec the player's failure. In these embodiments, the continual tions in music. This may be in contrast to the scenarios missed notes may serve as a drain on the performance of the described above in which players must mimic a predeter band. In some embodiments, after a player has failed, the mined progression of gems to playa predetermined piece of penalty for other players missing notes may be raised. music. An improvisational section may allow players to In some embodiments, the failed player's lane may be freely perform on their simulated instruments without requir removed from the display. For example, FIG. 2 depicts a ing a specific progression of notes or Sounds. In some drummer whose performance rating (indicated by the “D') 25 embodiments, a player's actions during an improvisational hit the bottom of the performance meter 180 and conse section may have no impact on a performance meter. In some quently failed the song. The lane corresponding to the drum of these embodiments, a performance meter may be removed mer has been removed from the display as a result. In other from the display during an improvisational section. embodiments, any other graphical or audio output may be An improvisational section of a song may be indicated in used to indicate a player has failed a song. In some embodi 30 any manner. In some embodiments, an improvisational sec ments, the failed players avatar may become dejected, stop tion of a song may be indicated graphically. For example, an playing the instrument, and/or be removed from the stage. In improvisational section may be indicated by highlighting all other embodiments, the player's avatar may be displayed the columns in a player's lane. Or for example, an improvi along with graphical text stating “failed.” In other embodi sational section may be indicated by a special gem or series of ments, the crowd may be shown to boo, heckle, taunt, or 35 special gems. Orfor example, an improvisational section may otherwise indicate dissatisfaction with the failed player's per be indicated by a message displayed to a player. formance. In some embodiments, the crowd meter may In some embodiments, an improvisation section may be change color, size, or otherwise indicate that a player has indicated by a color block spanning some or all the columns failed a song. For example, a player performing poorly may or rows of a player's lane. FIG.3A demonstrates color blocks cause their icon to change to red. After the player fails, the 40 which may indicate specific percussion fills. In each example, icon may change from red to black. the colored columns correspond to the columns the player is The player may then be reinstated in response to one or encouraged to freestyle on. In the embodiment shown, the more band mates activating a bonus (step 205). In some columns correspond to a simulated drum set with a Snare, and embodiments, the activated bonus may reflect a bonus stored at least two tom-toms arranged left-to-right. The colored bars in a bonus meter 120. For example, a player may accumulate 45 extend for the length of the improvisational section, and may bonuses by Successfully playing a designated musical phrase. extend any length of time, including without limitation 1,2,3, The player may then activate the bonus in any manner. 4, 8, 12, 16, or 32 measures of a song. Although the colored Examples of ways of activating a bonus may include pressing blocks shown are in the context of percussion fills, similar a button, tilting a guitar, hitting a special combo or gem, and colored blocks may be used to designate improvisational singing or shouting a special phrase. In other embodiments, 50 sections for any instrument or Vocal part. For example, a the activation may be automatic. For example, if a players guitar lane showing a colored block of the two leftmost col bonus meter 120 becomes full, the bonus may automatically umns may indicate the guitarist may freestyle among the two be activated and the failed player may be reinstated. In some notes corresponding to the leftmost lanes. embodiments, reinstating a player may "cost a certain In these embodiments, a color block indicating an impro amount of bonus. In some embodiments, reinstating a failed 55 visational section may then be graphically altered in response player may take the place of any other effects (e.g. score to a players input. For example, after a player plays a note multipliers, and/or graphical and aural effects) that would corresponding to a given column, that column may tempo typically be associated with activating a bonus. In other rarily be made brighter and then fade. In this example, a embodiments, a player may be reinstated in addition to any player may be incentivized to play notes corresponding to effects that typically accompany bonus activation. 60 each of the columns in order to keep all the columns brightly The player may be reinstated in any manner. In some lit. In this example, score bonuses may be awarded for keep embodiments, the player may be reinstated with a predeter ing the lanes lit. mined level of performance. For example, a reinstated player In some embodiments, improvisational sections may be may have their performance set in the middle of a perfor implemented similarly across all the instruments in the game. mance meter. Once the player has been reinstated, the player 65 In other embodiments, improvisational sections may be may resume their participation in playing the Song as they did implemented differently across a number of instruments to previously. Likewise, the audio corresponding to the players reflect unique properties of the simulated instruments. US 8,690,670 B2 23 24 For simulated guitars, in one embodiment, improvisational (step 303); and awarding a bonus to the members of the band sections may be provided in which a player must strum or in response to a successful execution of the unison sequence press fret buttons at above a minimum rate and/or move (step 305). among a minimum number of different fret buttons. While the In greater detail, an improvisational sequence may be pro minimum rate is met, then audio from a pre-recorded guitar vided during a song to players of a game (step 301). In some solo may be played. This may provide the player with the embodiments, the improvisational sequence may correspond feeling of freely playing a section and producing an impro to an improvisational sequence in the prerecorded version of vised Solo, without having to mimic a note progression con the song. For example, a recorded song may have an ending tained in the pre-recorded solo. If the player meets the mini sequence during which a number of the artists freestyle. This 10 section of the song may be provided to players of a game as an mum threshold, the player may also be awarded a bonus or improvisational sequence using any of the techniques given a score addition. described above. For example, each of the players may have For a simulated drum set, in one embodiment, in improvi to maintain a certain level of input in order to Sustain the sational sections each of the simulated drum pads and foot improvisational section. In some embodiments, icons may be pedal may be mapped to a different drum Sound. The player 15 displayed above each player's lane to indicate whether each may then freely play the simulated drum set as though it were player is Sustaining the correct amount of input. In other an actual drum set, and hear similar audio as if the player was embodiments, the audio of corresponding a given player may playing a drum set. In some embodiments, a player may be be discontinued in the event the player fails to maintain the required to play the simulated drum set at above a given correct level of input. minimum rate and/or move between the simulated drum pads In some embodiments, the players may accumulate a bonus at least a minimum amount in order to keep the improvisa during the improvisation section depending on the speed, tional section going. In other embodiments, the player may be variety, or skill of their improvisation. FIG. 3C shows a bonus required to play the simulated drum set at above a given gauge which indicates the current bonus the players have minimum rate and/or move between the simulated drum pads accumulated during the improvisational section. Icons may at least a minimum amount in order to score points or acquire 25 also be displayed for each player to indicate whether that a bonus for the improvisational section. player is currently improvising in Such a manner to accumu In Some embodiments, improvisational drum sections may late a bonus. In the embodiment shown, the icons may change be used in conjunction with bonuses. In one embodiment, color or be hidden in the event a player drops below the after a player has accumulated a predetermined amount of improvisation threshold required for a bonus. 30 The game may then indicate to the players a unison bonuses, drum fill sections of a song may be “unlocked.” sequence following the improvisational sequence (step 303). These sections may appear during the course of songs where The game may indicate the unison sequence in any manner drum fills might typically be played. The player may then use used to indicate musical sequences, including gems, indica their simulated drum set to play their own drum fills during tors, and/or note bars. The unison sequence may comprise any these sections. Scoring for these fill sections may be com 35 musical sequence. In some embodiments, the unison puted using the technique described above of requiring a sequence may correspond to an ending hit or riff played after player to play above a given minimum rate and/or move an improvisational section. For example, some rock Songs between the simulated drum pads at least a minimum amount feature an ending where one or more of the artists freestyle in order to collect a score for the section. In some embodi until a climax is reached where one or more ending riffs is ments, these fill sections may be tied to activation of a bonus. 40 played in unison. The improvisational sequence followed by In one embodiment, at the end of a fill section, a special gem the unison sequence may mimic Such a song ending. In some may be displayed. If the player hits a drum pad corresponding embodiments, icons may be displayed to indicate whether to the gem, the player's accumulated bonus will be activated. each player is successfully playing the unison sequence. For If the player does not hit the gem, the player's accumulated example, an icon may be displayed for each player which bonus will not be activated. In some cases, the special gem 45 turns red in the event that a player misses a note in the unison may correspond to the drum pad typically used for a crash Sequence. cymbal. The game may then award a bonus to the members of the For a vocalist, in one embodiment, during improvisational band or the band as a whole for successfully executing the sections the audio from a prerecorded Vocal solo may be unison sequence (step 305). Examples of bonuses that may be played, while the player is given the freedom to sing as he/she 50 awarded include additional points, score multipliers, in-game chooses. In some embodiments, the player may be required to money, in-game frame, in-game gear, and/or access to addi make a minimum amount of noise or sing a minimum number tional levels. Additionally, the game may alter one or more of notes to Sustain the improvisational section and/or collect graphical and/or audio elements in response to the Successful a bonus. In some embodiments, a color block representing a execution, including, without limitation, crowd Volume, Vocal improvisational section may be distorted in an artistic 55 crowd animation, arena lighting, arena effects, avatar or aesthetic manner in response to a player's vocal improvi demeanor, and avataractions. In some embodiments, a bonus sations. Such distortions may mimic a tye-dye, fractal, wave, accumulated as in FIG. 3C may only be awarded to the band explosion, or other visual effects. upon Successful execution of the unison sequence. In other Referring now to FIGS. 3B and 3C, a method is shown for embodiments, a bonus accumulated as in FIG. 3C may be awarding a bonus to a band for Successfully executing a 60 multiplied by a given number in the event the following unison sequence following an improvisational section. In unison sequence is executed. brief overview the method comprises providing an improvi Referring now to FIG. 4A, an embodiment of a simulated sational sequence in a song (step 301). FIG. 3C illustrates an guitar controller 200 for use with a video game is shown. The example screenshot during which players are allowed to simulated guitar controller 200 is provided with fret buttons improvise for a period of time to accumulate a bonus. The 65 220. Although five fret buttons are shown in FIG. 4A, any method then comprises indicating, to the members of a band, number of fret buttons 220 may be provided by the controller a unison sequence following the improvisational sequence 400. The simulated guitar controller also includes a “strum US 8,690,670 B2 25 26 bar 240. In order to successfully “play' a game event, the EB-3, EB-6, Gibson RD bass, , player holds down one or more of the fret buttons 220 while Gibson Ripper, Gibson Grabber, , Gibson Victory simultaneously strumming the strum bar 240, in much the Standard bass, Gibson bass, Fender Jazz Bass, same way that one would playa guitar. In some embodiments Fender Jaguar Bass, Fender Mustang Bass, Fender Precision players may also execute “hammer ons” and “pull offs.” as Bass, Fender Performer Bass, Fender Telecaster Bass, Fender described below, which allow a player to "play' a game event VI, Fender Zone Bass, Fender Dimension Bass, Fender Bass by pressing or releasing only a fret button 220. V, Fender Bronco Bass, or Fender Bullet Bass. FIGS. 4B and 4C depict alternate embodiments of the FIG.4C depicts another alternate embodiment of the guitar guitar controller of FIG. 4A. FIG. 4B depicts an embodiment controller having two sets of fret buttons 220, 220'. As shown of the guitar controller intended to simulate a guitar model 10 in FIG. 4C a second set of fret buttons 220" is disposed on the known as the “Explorer.” FIG. 4C depicts an embodiment of “neck” of the guitar proximal to the guitar body, i.e. in the guitar controller intended to simulate a guitar model by between the first set of fret buttons 220 and the guitar body. In Gibson known as the “Flying V.” Any other body styling may some embodiments, the ordering of the second set of fret be provided. For example, in some embodiments, the body buttons 220" is the same as the first set of fret buttons 220; that portion of the guitar controller simulates a Gibson Blue 15 is, if the first set of fret buttons 220 are colored, beginning at shawk, Gibson Byrdland, Gibson Chet Atkins SST, Gibson the “head of the guitar neck and moving toward the body, Citation, Gibson Corvus, Gibson Digital, Gibson ES-120, green, red, yellow, blue, orange, then the second set of fret Gibson ES-125, Gibson ES-135, Gibson ES-137, Gibson buttons 220" have the same coloring as one continues down ES-150, Gibson ES-165, Gibson ES-175, Gibson ES-225, the neck toward the guitar body. Gibson ES-295, Gibson ES-330, Gibson ES-335, Gibson In some embodiments, the fret buttons 220 and 220" may be ES-335 “Lucille', Gibson ES-345, Gibson ES-347, Gibson colored to indicate that the buttons correspond to a particular ES-355, Gibson EDS-1275, (also known as note, chord, or fret. In some embodiments, a fret button 220 the X-plorer), , Gibson Futura, Gibson may indicate color by the color of the entire fret button. In Howard Roberts Fusion, Gibson Invader, Gibson L4-CES, other embodiments, only a portion of the fret button may be Gibson L5, Gibson L5S, Gibson L6-S, , 25 colored. For example, a fret button may be mostly black, but Gibson Les Paul Black Beauty, Gibson Les Paul Custom contain a colored dot or stripe indicating color. Or for Anniversary 25/50, Gibson Les Paul Junior, Gibson Les Paul example, the fret button may be clear, and one or more lights Studio, Gibson Les Paul Swamp Ash Studio, Gibson Les Paul underneath the fret button may indicate the color. Recording, Gibson Les Paul 23, Gibson Les Paul 432, Gibson In other embodiments, other markings on the neck may (Les Paul) “The Paul Deluxe (which has a cutaway SG 30 indicate the “color of a particular fret button. For example, body), Gibson (Les Paul) “The Paul Deluxe Firebrand colored dots may be placed on the neck of the guitar next to (which is characterized in having a cutaway SG body with one or more fret buttons 220 indicating the color correspond firebranded Gibson logo), Gibson Marauder, Gibson Melody ing to the fret button. In another example, patterns of dots may Maker, Gibson Nighthawk, Gibson RD, Gibson S-I, Gibson be used to indicate the note, chord, or fret to which a given SG, Gibson SG Special, Gibson SG Supreme, Gibson Sonex, 35 button corresponds, similar to the patterns of dots used on , Gibson MIII, Gibson Advanced Jumbo, traditional guitars to designate frets by thirds and octaves. In Gibson Blues King, Gibson B12-45 12 string, Gibson C-165 these embodiments, the fret buttons themselves may be white, Maple, Gibson C-165 Rosewood, , clear, black, or all colored a similar color. In still other Gibson Hummingbird Custom, Gibson Dove, Gibson Dove embodiments, one set of fret buttons 220 may be colored, Artist Model, Gibson Doves In Flight Custom, Gibson J-160 40 while a second set of fret buttons is colorless. For example, in E VS Std, Gibson J-180, Gibson J-185, Gibson J-185 EC, an embodiment such as the one shown in FIG. 4F, only one of Gibson J-185 EC Rosewood, Gibson J-185 EC Cutaway, the two fret buttons disposed on a given fret may be colored. Gibson J-90 Super Fusion, Gibson J-45, Gibson J-45 Deluxe, In some embodiments, a user of a guitar controller may be Gibson J-45 Rosewood, Gibson 0.145 Custom Vine, Gibson able to change the colors corresponding to one or more fret J-50, Gibson L-00, Gibson L-130, Gibson L-140, Gibson 45 buttons, such as by using stickers, removable button colors, L-150 Custom, Gibson LC-I Cascade, Gibson LC-2 Sonoma, multiple colored LEDs under the fret buttons, or otherwise. Gibson J-100, Gibson Nick Lucas Reissue, Gibson Nick A game using the guitar controller may then have a configu Lucas Elite, Gibson J-150 Maple, Gibson J-200, Gibson ration tool Such that the user can configure the game to rec J-200 EC, Gibson SJ-200 Western Classic, Gibson I-200 ognize the altered colors. Custom Vine, Gibson J-250 Monarch, Gibson J-2000, Gibson 50 In some embodiments, one or more fret buttons may be Super 200 Cutaway Custom, Gibson SJ-300 Rosewood, Gib pressure sensitive. In one embodiment, the fret buttons may son Sheryl Crow Signature Model, Gibson Songwriter sense the amount of force a player is holding them down with, Deluxe, Gibson Songwriter Deluxe Cutaway, Gibson Song and transmit a signal accordingly. In one embodiment, this writer Deluxe 12 String, Gibson Southern Jumbo, Gibson pressure sensitivity may be used to simulate a vibrato effect, Traveling Songwriter, Fender Broadcaster, Fender Bullet, 55 in which a player can vary the pressure on a fret button to bend Fender Cyclone, Fender Duo-Sonic, Fender Electric XU, the pitch of a played note up and down. In another embodi Fender Jaguar, Fender Jag-stang, Fender Jazzmaster, Fender ment, a player may be able to control the Volume of playing by Katana, Fender Contemporary Stratocaster Japan, Fender varying the amount of pressure on a fret button. In still other Lead Series, Fender LTD, Fender Musicmaster, Fender Mus embodiments, a player may vary the amount of pressure on a tang, Fender Prodigy, Fender Performer, Fender Showmaster, 60 fret button to vary the attack or tail of a played note. Fender Starcaster, Fender Stratocaster, Stratocaster XII, Fat Although shown in FIG. 4C as round buttons, fret buttons Strat, Fender Telecaster, Fender Telecaster Custom, Fender 220' may be any shape or size, including the same shape and Telecaster Deluxe, J5 Telecaster, Fender Telecaster Squire, size of the first set of fret buttons 220. Fender Toronado, Fender Swinger, Fender Bronco, or Fender Referring ahead to FIG. 4F, the second set of fret buttons Custom. 65 220" may be positioned on the neck portion of the guitar The body portion of the guitar may simulate bass guitars, controller such that respective ones of the first set of fret such as the Gibson EB-0, Gibson EB-I, Gibson EB-2, Gibson buttons and corresponding ones of the second set of fret US 8,690,670 B2 27 28 buttons are positioned on the same fret of the neck (i.e. a red continuous controlling actuator, much like a joystick. Typi fret button of the first set of buttons 220 and a red fret button cally, the vibrato bar has a single degree-of-freedom, but it of the second set of fret buttons 220' are located near each may have more degrees of freedom. It may additionally be other on the same “fret” of the neck portion of the guitar used as an on-off Switch, instead of a continuous controller. controller). In specific ones of these embodiments, fret but 5 The whammy bar 260 of the controller looks and feels like the tons are physically connected to a toggle Switch which allows whammy bar of a real guitar, and, therefore provides a much a single physical button to provide two fret buttons, one more enjoyable gaming experience for the player. associated with a first set offret buttons and one provided with The guitar controller 200 also allows a player to use more a second set of fret buttons. In further embodiments, respec Sophisticated guitar playing techniques to interact with a tive ones of the first set of fret buttons 220 and corresponding 10 game. Two Such techniques are "hammer ons' and “pull ones of the second set of fret buttons 220" are electrically offs.”Hammer-ons and pull-offs allow a guitarist to player connected, e.g. wired together, so that activation of either one notes in rapid Succession. Typically, they only require the use of the respective fret buttons is identified by the controller as of the players fretting hand. To playa hammer-on note, the activation of the fret button, regardless of whether the fret guitarist uses one of the free fingers of his fretting hand to button from the first set of fret buttons 220, the fret button 15 strike the guitar string with high velocity. This results in the from the second set of fret buttons 220', or both, are activated. string vibrating due to the force of the string hitting a fret. As In still other embodiments, the respective ones of the fret a result, the string need not be strummed by the strumming buttons are not wired together, that is, the controller can hand. Pull offs require the guitarist to tug slightly on the string distinguish between activation offret buttons in one set versus when he releases it from a fret. This pulling action also causes activation of fret button in another set. the string to vibrate more, again, eliminating the need to strum In some of these latter embodiments, the second set of fret the string with the strumming hand. buttons 220" may be used for playing 'solos' during game In the simulated guitar controller 400, hammer-ons may be play. Use of the guitar controller in this manner provides a simulated by allowing the player to press down fret buttons player with a more realistic gameplay experience, since guitar 420 without needing to simultaneously strum the strum bar solos are often played very close to the body of the guitar. In 25 440. This is achieved by the manufacturer of the game author some embodiments, the second set offret buttons 220; may be ing the game content to identify a note as amenable to ham the only set of fret buttons on which hammer-ons and pull mering on or pulling off. For a hammer on, a player will offs may be executed, as described below. In other embodi generally need to capture a “lower pitched note traditionally, ments, the second set of fret buttons 220" may be used to that is, by holding down a fret button and simultaneously trigger specific guitar effects, such as pick slides, screeches, 30 activating the strum bar. If the next note is identified as ame or feedback. Alternatively, “performing using the second set nable to being played by a hammer technique, the player need offret buttons may alter game graphics (such as venue ani only activate the “higher pitched fret button to successfully mation, venue lighting, crowd animation, brightness, avatar capture the note. animation, game cue Sustain tail, game cue brightness, game Similarly, in pull-offs, the player can “playa note' by cue Sustain tail brightness, game cue size, game cue shape, 35 releasing a fret button 220 without needing to simultaneously game cue Sustain tail pulsation, and game cue Sustain tail strum the strum bar 240. This is achieved, again, by the size), Sound quality, or other gameplay characteristics, such manufacturer of the game authoring the game content to as character health, character wealth in the game, the players identify a note as amenable to hammering on or pulling off. score, or in-game “powerups.” For a pull off, a player will generally need to capture a pair of Referring back to anyone of FIGS. 4A, 4B and 4C, the 40 notes traditionally, that is, by holding down both fret buttons simulated guitar controller 400 also includes a vibrato bar and simultaneously activating the strumbar. If the next note is 260, also known to guitar players as a tremolo bar or identified as amenable to being played by a pull off technique, “whammy bar.” The vibratobar 260, for convenience, will be the player need only release the “higher pitched fret buttonto referred to throughout the remainder of this document as a Successfully capture the note. As discussed above, when “whammy bar” The whammy bar 260, as will be described 45 using the embodiment of a guitar controller 200 depicted in below, may be used to alter the frequency, pitch, Volume, FIG. 4E, the second set offret buttons may be used to perform Sound quality, distortion, simulated feedback Sound, or any hammer-ons and pull-offs. In either of these embodiments, other attribute of the current note or chord being played by the notes that may be played using a hammer-on or pull-off player. technique may be visually indicated to the player by, for The whammy bar 260 of the controller resembles a 50 example, changing their geometric shape, transparency, whammy bar of a real guitar. As shown in FIG. 4D, and with color, or brightness. comparison to FIG. 4B, the whammy bar 260 can be rotated Real guitarists often perform flamboyant motions on stage to any one of a number of positions for the convenience of the when playing guitar as part of their showmanship. One typi player. As shown in FIG. 4D, the whammy bar 260 has been cal motion involves rotating the guitar vertically so that the rotated to a position that places it out of the way of the players 55 neck of the guitar points up, while the body of the guitar is strumming hand. In some embodiments, the whammy bar down, usually at waist level. In the simulated guitar controller 260 is spring-loaded, like the whammy bar of a real guitar. In 200, a mechanical "tilt sensor' can be included that monitors these embodiments, as depicted by FIG. 4E, the whammy bar the guitar's physical orientation. This tilt sensor is typically a 260 can be pushed down or pulled up to affect the played note. mercury Switch or a ball-bearing Switch which acts as a binary When released, it settles back to its default, neutral position. 60 actuator, indicating whether the guitar has been rotated into a The whammy bar is typically manipulated by the guitar “neck up’ position, or is in the normal playing position. Such ist's strumming hand, that is, the hand with which the player tilt sensors have been included in guitar controllers manufac operates the strum bar 240. In a real guitar, manipulating the tured by Konami and by Red Octane. Other secondary tech whammy bar directly affects the tension of the guitar Strings, niques for interacting with the controller include shaking the and therefore causes the pitch of the vibrating Strings to rise 65 controller and slapping the controller. and fall as the bar is pulled or pushed. The simulated whammy Referring now to FIG. 4G, an embodiment of a guitar bar of the guitar controller, the vibrato bar, can be used as a controller with a 5-way switch is shown. A 5-way switch 481, US 8,690,670 B2 29 30 which may be similar in appearance and function to 5-way the pad. For example, the drum set may transmit a signal Switches which appear on real guitars, is included on the indicating that pad 502b was struck with a force above a given guitar controller. A 5-way Switch may be included on any type threshold. Or, for example, the drum set may transmit a signal of guitar controller, including without limitation all of the indicating that pad 502c was struck very near the rim of the guitar controller embodiments described herein. A 5-way pad. Switch may be located anywhere on the guitar controller, In some embodiments, the drum pads 502 may be struck including without limitation near the neck, as in FIG. 4G, near with drum sticks used with ordinary drums. In other embodi the strum bar, near a whammy bar, near a shoulder strap ments, the drum pads 502 may be struck with customized attachment, and near the bottom of the guitar. Although the drum sticks designed specially to work with the set 500. remainder of this description will discuss a 5-way switch, it 10 During a game session, each drum pad may be configured should be understood that a switch with any number of posi to simulate an individual percussion instrument. For example, tions may be substituted for a 5-way Switch, including a a user Striking a drum pad502a may causea snare drum Sound 2-way, 3-way, 4-way, 6-way, 7-way and 8-way Switch. to be played, while the user striking drum pad502b may cause Referring now to FIG. 4H, a side view of one embodiment a tom-tom sound to be player, while the user striking drum of a 5-way Switch is shown. A 5-way Switch may comprise a 15 pad 502d may cause a crash cymbal sound to be played. In toggle Switch 481 which may be toggled between 5 unique Some embodiments, the played sound may reflect any of the positions. In other embodiments (not shown) a 5 way Switch properties of the user's strike of the drum pad. For example, may comprise any input mechanism which can specify 5 a game may playa louder Snare drum Sound in response to a states, including without limitation a slider, dial, or push user hitting a drum pad harder. Or for example, a game may button. In some embodiments, each of the five states may alter the Sound of a ride cymbal played depending on how correspond to a guitar effect, including, without limitation, close to the center or the rim of the drum pad the user strikes. feedback, distortion, Screech, flange, wah-wah, echo, reverb, In some embodiments, the Sound played in response to a drum or dry (no effect). pad strike may be chosen from a prerecorded library of per Referring now to FIG. 4I, an example screen in which a cussion Sounds. In other embodiments, in response to a user player has used a 5-way Switch to select a guitar effect is 25 Successfully striking a pad 502 corresponding to an on Screen shown. In the screen shown, a message 487 is displayed to the gem, a portion of a pre-recorded drum track corresponding to player indicating which effect the player has selected. In other the current song may be played. embodiments, the selected effect may be indicated via an The drum set 500 may also comprise a number of foot icon, audio message, or not explicitly indicated at all. pedals 530. In some embodiments, a single foot pedal may be A selected guitar effect may be implemented in any manner 30 provided. In other embodiments, any number of foot pedals within the game. In some embodiments, the selected guitar may be provided, including two (such as one to simulate a effect may immediately be applied to the guitar sounds pro bass drum and one to simulate a hi-hat), three or four. During duced by the player, and be applied for as long as the player a game, the foot pedal may be used to create any percussion has the switch set to the guitar effect. In other embodiments, Sound. guitar effects may only be deployed for certain amounts of 35 In some embodiments, a drum set 500 may comprise a time, and in certain places in Songs. In one embodiment, a stand 520 which allows a user to sit or stand while playing the guitar effect may only be activated when a player activates a drum pads, and still have access to the foot pedal 530. In one bonus. For example, when a player activates a bonus (such as embodiment, the stand may allow a user to adjust the height of from a bonus meter 120) the player's currently selected guitar the drum pads as a whole. In another embodiment, the stand effect may be deployed for a set amount of time, or a set 40 520 may allow a user to adjust the height of the drum pads number of notes. In another embodiment, a player may earn individually. In still another embodiment, the stand 520 may the right to deploy one or more guitar effects by achieving a allow a user to adjust the position of one or more pads, such as given score or completing a certain task. Once the guitar by Swiveling one or more pads closer to the player. In some effects are earned, then the player may deploy them at any embodiments, the stand 520 may allow a user to adjust the time. In some embodiments, certain guitar effects may posi 45 placement of the foot pedal, including moving the foot pedal tively or negatively impact a player's score. forwards, backwards, and side-to-side. In one embodiment, Referring now to FIG. 5A an embodiment of a simulated the foot pedal and/or drum pads 502 may be detachable from drum set for use with a video game are shown. In brief the stand. In this embodiment, the drum pads 502 may be overview, a simulated drum set 500 comprises a number of placed on a table top or held on a player's lap. drumpads 502a,502b,502c,502d (generally 502). The simu 50 In some embodiments, a simulated drum set 500 may lated drum set 500 may also comprise a controller 510 with include a controller 510. The controller may comprise inputs various buttons, Switches, and/or joysticks. The simulated for configuring the simulated drum set, including, for drum set may also comprise a foot pedal 530 to simulate a example, sensitivity, left/right handed Switching, and turning foot-activated percussion instrument, such as a bass drum or the drum set on and off. The controller 510 may also comprise hi-hat. The simulated drum set 500 may be mounted on a 55 any other game inputs. In some embodiments, the controller stand 520 to elevate the drum pads 502 and secure the foot 510 may comprise some or all of the functionality of a stan pedal 530. dard game controller for any of the game systems described Still referring to FIG.5A, now in greater detail, a simulated herein. In some embodiments, the controller may be used for drum set may comprise any number of drum pads 502, includ navigating menus, or inputting configuration or other game ing without limitation Zero, one, two, three, four, five, six, 60 data. seven, eight, nine, or ten. Upon a user striking a drum pad 502, A simulated drum set 500 may also comprise any other the drum set 500 may transmit a signal to a game system that elements incorporated in game controllers. In some embodi the pad was struck. This signal may be transmitted via any ments, a drum set 500 may comprise a speaker which may means, including cables and wireless signals. The signal may provide individual feedback to the player about the players comprise any information about a strike including without 65 performance. In large multiplayer games, this individual limitation the time, force, duration, location on the pad, size speaker may assist a player in assessing their performance of the object striking the pad, and texture of the object striking and hearing whether or not they missed a note. In other US 8,690,670 B2 31 32 embodiments, a drum set 500 may comprise a microphone profiles—for example some players may aggressively stomp which may be used to chat with other players, provide vocal the foot board 534, while other players may press the foot input, or provide hand claps, microphone taps, or other aural board 534 more delicately. input. In other embodiments, such an individual speaker may The sensor 533 may comprise any electrical means for be included in any other simulated instrument, including a measuring the position and/or Velocity of the magnet 531 and guitar and/or microphone. generating a signal indicating the position and/or Velocity. In In some embodiments, the drum pads 502 and/or foot pedal Some embodiments, the sensor may measure an electrical 530 may be color coded. For example, drum pad 502a may be charge created by the magnets 531 position. In these embodi green, pad 502b may be red, pad 502c may be yellow, pad ments, the sensor may comprise a Hall Effect sensor. In other 502d may be blue, and the foot pedal 530 may be orange. 10 embodiments, the sensor 533 may measure an electrical cur Color coding may be indicated in any manner, including the rent induced by the motion of the magnet. Although the color of the pads 502, the color of the rims surround the pads sensor is shown mounted to the base 537 of the foot pedal, in 502, the color of an icon or design on the pads 502 or rims, or other embodiments the sensor 533 may be mounted to the foot one or more labels on the pads, rims, and/or stand. The color board 534 of the foot pedal. Further, although a magnet 531 is code of the foot pedal may also be indicated in any manner, 15 shown activating the sensor, in other embodiments, any other including the color of the foot pedal, the color of a design or contactless Switch and/or sensor may be used, including with icon on the foot pedal, or one or more labels on the foot pedal out limitation optical sensors. or stand. The foot pedal 530 may transmit any signal relating to the In addition to being used during gameplay, in some position and/or velocity of the foot pedal. In some embodi embodiments the simulated drum set may be used to navigate ments, the foot pedal may transmit a signal each time the one or more menus or produce other game input. For pedal is pressed past a certain threshold. In one embodiment, example, a game may display a menu to users in which the threshold may be defined as a predetermined angle of different menu options are color coded. A user may then strike depression. In another embodiment, the threshold may be the drum pad or Stomp the foot pedal corresponding to the defined as a predetermined velocity of the depression. In still color of a menu option to activate that menu option. Or for 25 another embodiment, the threshold may be defined as a pre example, a series of menus may be provided in which a user determined Velocity combined with a predetermined angle. may use two drums 502b 502c to cycle up and down among For example, the foot pedal may transmit a signal when the choices within a menu, and use two drums 502a, 502d to angle between the base 537 and footboard 534 becomes less move forward and backward between different menus. In than 15 degrees (which may correspond to when the pad 535 Some embodiments, one or more drums may be assigned a 30 contacts the base). In another example, the foot pedal may designated function throughout a game interface. For transmit a signal when the angle between the base 537 and example, during the course of navigating a series of menus, footboard534 becomes less than 15 degrees provided that the startup, and/or configuration screens, a player may always be footboard 534 was pressed above a minimum velocity. In this able to use the foot pedal to return to a main screen. Or for manner, the foot pedal may simulate a real bass drum in that example, the player may always be able to use the leftmost 35 a minimum velocity and angle are required to produce a drum 502d to alter a currently selected option. In some Sound. In other embodiments, the foot pedal may transmit a embodiments, navigating menus and configuration screens continuous signal detailing the position and Velocity of the may be done via a combination of the drum pads, foot pedal, foot board 534. and controller. A game may use any aspects of the signal produced by a Referring now to FIG.5B, side views of a foot pedal 530 in 40 foot pedal in simulating a drum sound. For example, in some an up and down state are shown. In brief overview, a foot embodiments, the game may reproduce a louder drum Sound pedal 530 comprises a foot board 534 which can be pressed in response to a harder Stomp from a player on the foot pedal. down by a user's foot. The foot board 534 will move down A foot pedal 530 may comprise a spring, elastic, or any until a pad 535 reaches the base of the pedal 537. The foot other mechanism for returning the foot pedal 530 to its origi pedal 530 may comprise contactless means for determining 45 nal state after the foot pedal has been depressed. In some the angle of depression of the foot pedal. In the embodiment embodiments, the foot pedal 530 may comprise a spring in a shown, the foot pedal 530 comprises a magnet 531 mounted pivot point 539. In other embodiments, the foot pedal 530 to the footboard 534 via an attachment 538. Upon pressing of may comprise one or more springs positioned between the the foot board, the magnet 531 moves closer to a sensor 533 base 537 and the footboard 534. In some embodiments, the which can detect the movement and distance of the magnet. 50 springs of a foot pedal 530 may be configured to simulate the The sensor 533 may then transmit a signal carrying informa feel of a real kick drum. tion about the position and/or motion of the foot board to a Referring back to FIG. 1A, one embodiment of a screen simulated drum set 500 or directly to a game system. This display for a video game in which a player emulates a musical signal transmission may be done via a wire 541 or wirelessly. performance by providing Vocal input is shown. A player Still referring to FIG. 5B, now in greater detail, the foot 55 provides Vocal input matching the pitch and duration of notes pedal shown comprises a sensor 533 for determining the included in musical content associated with the game. As position of the footboard 534 without requiring contact with shown in FIG. 1A, the notes of a vocal track may be repre the foot board, or any moving parts within the sensor. This sented by “note tubes' 124. In the embodiment shown in FIG. may allow the foot pedal to reliably detect a depression of the 1A, the note tubes 124 appear at the top of the display and flow foot pedal without producing a "click” or other noise, which 60 horizontally, from right to left, as the musical content may be distracting to a player of a game. For example, the pad progresses. In other embodiments, the note tubes 124 may be 535 which contacts the base 537 may be softenedorotherwise positioned at the bottom of the display. In still other embodi treated such that the noise from the pad hitting the base of the ments, the note tubes 124 may be positioned above the lanes foot pedal is minimized. This may also allow the foot pedal to but below the avatars. have a longer lifespan by not requiring a mechanical Switch 65 In these embodiments, vertical position of a note tube 124 which may wear out. This may also allow the foot pedal 530 represents the pitch to be sung by the player; the length of the to perform reliably under a wide range of potential force note tube indicates the duration for which the player must US 8,690,670 B2 33 34 hold that pitch. The arrow 108 provides the player with visual musical performance data. In other embodiments, incoming feedback regarding the pitch of the note that is currently being emulation parameters may reflect whether a remote singer is sung. If the arrow is above the note tube 124, the player needs flat or sharp, and the pitch of the vocal track may be adjusted to lower the pitch of the note being sung. Similarly, if the accordingly. arrow 108 is below the note tube 124, the player needs to raise Referring now to FIG. 6A, a flow diagram of one embodi the pitch of the note being Sung. In these embodiments, the ment of a method for combining vocal cues and percussion player providing vocal input may do so using a USB micro cues for a player of a rhythm action game during a song. In phone of the sort manufactured by Logitech International of brief overview, the method comprises: displaying, in a Switzerland. As shown in FIG. 1A, lyrics 105 may be pro rhythm action game, a lane comprising cues corresponding to vided to the player to assist their performance. 10 a vocal track of a song (step 601); displaying, on the lane In some embodiments, in addition to detecting the pitch the during the song, at least one cue corresponding to a percus player is singing, a game may also detect phonemes used by sion element of the song (step 603); evaluating, with a first a player to determine whether a player is singing the correct gameplay mechanic, a player's performance with respect to lyrics to a song. For example, for the lyrics “She’s the girl for the cues corresponding to vocal elements (step 605); and me a phoneme detection scheme may require that the player 15 evaluating, with a second gameplay mechanic, the players sing words that at least begin with a “sh” sound, followed by performance with respect to the cues corresponding to the a “th' sound, a “g sound and end with a “ee' sound. In some percussion element (step 607). embodiments, the phoneme detection may be synchronized Still referring to FIG. 6A, now in greater detail, cues cor with the rhythm of the Song being played, such that a player is responding to a Vocal track of a song may be displayed in any required to sing certain syllables at the propertimes within a manner (step 601), including any manner described herein. In Song. In some embodiments, phoneme detection may be used Some embodiments, the cues may comprises a Vocal cue in all the songs of a game. In other embodiments, phoneme similar to the vocal cue 124 shown in FIG. 1A. A vocal track detection may only be used with certain songs or difficulty of a song may comprise any part of a song involving Vocal levels. In still other embodiments, phoneme detection may be elements. Examples of Vocal tracks may include lead vocal used in place of pitch detection during Vocal sections of songs 25 tracks, backup Vocal tracks, chorus tracks, and any combina which meant to be spoken or shouted instead of Sung tradi tions of those tracks. tionally. In some embodiments, a phoneme detection library At least one cue corresponding to a percussion element of Software package may be used to facilitate the phoneme the song may be displayed on the same lane as the cues detection. corresponding to the vocal track (step 603). The at least one As discussed above, in Some embodiments one or more of 30 cue may be displayed at any point during the song, including the players may participate remotely. In these embodiments, prior to, during, or after the display of any Vocal cues. In some remote play may be facilitated using the "emulation data” embodiments, the at least one percussion cue may be dis methods described above. In those methods, a remote gaming played during a portion of the song with no lead vocals. For platform receives emulation parameters, either from a central example, a song may have an instrumental section in the service or directly from a participating player, regarding the 35 middle of the Song where no lead vocals (or no vocals at all) player's performance. As above, the emulation data may are present. During this section, cues may be displayed to the include any number of parameters that describe how well the Vocalist corresponding to a percussion instrument that is player is performing. In some specific embodiments, the present during the instrumental section that may typically be emulation data may also reflect whether the player providing played by a singer, Such as a cowbell or tambourine. In this Vocal input is singing an octave higher or lower than the target 40 way, the Vocalist does not have a long portion of a song with musical data. nothing to do. In one particular example, an incoming emulation param Referring ahead to FIG. 6B one embodiment of a screen eter from a remote player indicates that the most recently display for a video game in which a player emulating a musi performed note tube was performed at one of a set of quan cal performance by providing Vocal input is also asked to tized quality levels, e.g., “lousy.” “poor.” “ok,” “good.” 45 Supply percussive input is shown. In the embodiment shown, “great and “perfect.” The local gaming platform will the round musical targets 610 indicate that the vocalist must respond accordingly by modifying the Vocal track that is Supply percussive input, such as input representing a tambou locally reproduced in a manner that approximates the rine, hand clap, thigh slap, maraca, castanet, tympani, or received emulation data. For example the pitch of the vocal cymbal crash. track may be elevated or depressed a number of half steps 50 The musical targets 610 may comprise any graphical indi corresponding to the received emulation data. In other cation of a percussion act to be performed. In some embodi embodiments, distorting effects may be applied to the repro ments, musical targets may be shaped to resemble the percus duced vocal musical data to reflect the emulation data sion instrument to be played. For example, cues may be received. Such distorting effects may include white noise, shaped like a tambourine to indicate that a tambourine part frequency shifting, frequency shaping, Volume adjustments, 55 should be mimicked. In some embodiments, the musical tar and tempo shifting. In certain embodiments, the Vocal track gets may be displayed in the Vocalist’s lane along with the may not be reproduced if the emulation data reflects a very pitch indications. In other embodiments, the musical targets poor Vocal performance. In other embodiments, the Volume may be displayed in the row where lyrics typically appear. of the vocal track may be decreased to reflect poor perfor Referring now to 6C, a second embodiment of a screen mance, and increased to reflect good performance. 60 display for a video game in which a player emulating a musi In another particular example, an incoming emulation cal performance by providing Vocal input is also asked to parameter from a remote player indicates that the player Supply percussive input is shown. The screen depicts tambou providing vocal input is providing input an octave higher than rine targets 610 scrolling across the bottom of the screen. If a expected. In these embodiments, the pitch of the vocal track player Successfully shouts or taps the microphone at the cor may be raised by an octave to reflect the vocal player's per 65 rect time, the targets 610 may explode or flash to indicate the formance. A similar technique may be used if the Vocal player Success. The screen also depicts the avatar of the Vocalist provides Vocal input that is an octave lower than the expected holding a tambourine. In other embodiments, a Vocalist avatar US 8,690,670 B2 35 36 may be depicted holding or using any other percussion instru An improvisational section of a song may be indicated in ment the player Vocalist is asked to mimic. Although no vocal any manner. In some embodiments, an improvisational sec cues are shown in FIG. 6C, vocal cues may be displayed tion of a song may be indicated graphically. For example, an before and/or after the shown section of the song. improvisational section may be indicated by highlighting all Referring back to FIG. 6A, any first gameplay mechanic the columns in a player's lane. Or for example, an improvi may be used to evaluate a player's performance with respect sational section may be indicated by a special gem or series of to the cues corresponding to vocal elements (step 605). The special gems. Orfor example, an improvisational section may first gameplay mechanic may comprise any mechanic be indicated by a message displayed to a player. described herein for evaluating a vocal performance of a In some embodiments, an improvisation section may be player, including without limitation pitch evaluation, pho 10 indicated by a color block spanning some or all the columns neme evaluation, and any combination thereof. or rows of a players lane. In these embodiments, a color A second gameplay mechanic may be used to evaluate the block indicating an improvisational section may then be player's performance with respect to the cues corresponding graphically altered in response to a players input. For a to the percussion element. In one embodiment, the second Vocalist, in one embodiment, during improvisational sections gameplay mechanic may be to evaluate the timing of one or 15 the audio from pre-recorded vocal solo may be played, while more bursts in Sound data received from a microphone. In the player is given the freedom to sing as he/she chooses. In certain of these embodiments in which the player providing Some embodiments, a color block representing a Vocal impro vocal input uses a USB microphone, input may be provided visational section may be distorted in an artistic or aesthetic by tapping or striking the microphone or, in Some embodi manner in response to a player's vocal improvisations. Such ments, by shouting sharply or otherwise Vocalizing into the distortions may mimic a tye-dye, fractal, wave, explosion, or microphone. In other embodiments, a sensor may be included other visual effects. in a microphone and a player may be required to shake, tilt, A determination may then be made that that Sound data strike, or otherwise move the microphone to produce the from a microphone assigned to the Vocalist exceeds a second percussion effect. predetermined threshold during the improvisational section In some embodiments, the Success of a player in perform 25 (step 705). The second predetermined threshold may com ing the percussion targets may be included in their overall prise any threshold measure including without limitation Vol Vocal performance metric, Such as on a performance meter. In ume, pitch, duration, and any combination thereof. In one other embodiments, the Success of a player in performing the embodiment, the second predetermined threshold may be a percussion targets may be scored separately. For example, a Volume threshold. Such that a player is required to make noise Vocalist's standing on a performance meter may be unaf 30 above a given volume. In another embodiment, the threshold fected by their performance on the percussion targets. How may be a burst threshold, such that the player is required to ever, in this example successful execution of the percussion produce a burst of sound with given parameters. targets may trigger one or more bonuses, and/or increase a In response to the determining, a bonus may be deployed point score awarded to the vocalist or band. (step 707). In some embodiments, the deployed bonus may be Referring now to FIG. 7, a flow diagram of a method for 35 a bonus accumulated by playing a predetermined number of providing improvisational Vocal sections of a song during a selected phrases. For example, a player may accumulate rhythm action game is shown. In brief overview, the method bonuses by singing certain vocal sections above a given stan comprises: identifying that a value associated with a Vocal dard of performance. Once a player has accumulated enough ist's performance of a song in a rhythm action game exceeds bonuses, improvisational sections may begin to be provided a first predetermined threshold (step 701); providing, in 40 to the player (such as, for example, during breaks between response to the identifying, a Vocal improvisational section Vocal phrases of the song). If a player sings or otherwise during the song (step 703); determining, that sound data from makes Sufficient Sound during the improvisational section, a microphone assigned to the Vocalist exceeds a second pre the accumulated bonus may be activated. The accumulated determined threshold during the improvisational section (step bonus may result in a score multiplier, improved performance 705); and deploying, in response to the determining, a bonus 45 meter, and/or increased crowd reaction. (step 707). Referring now to FIG. 8A an example screen showing a Still referring to FIG. 7, now in greater detail, any value band's options and progress through a simulated world tourin associated with a Vocalist's performance of a songina rhythm a video game are shown. In brief overview, a rhythm action action game may be identified as exceeding a first predeter game may present a single player or a band with the option to mined threshold (step 701). In some embodiments, the value 50 participate in a simulated world tour. Broadly speaking, a may be a total score for the song performance. In other world tour may simulate the experience of traveling to and embodiments, the value may be an accumulated bonus, Such performing at a number of different venues in a quest to earn as a bonus accumulated by Successfully executing predeter fame and money. As the tour progresses, a band may gain mined vocal phrases. In still other embodiments, the value access to more and more content within the game. Such as new may be a current performance level. 55 venues, new cities, new songs, and new gear. Although the In response to the identifying, an improvisational section proceeding description with respect to FIG. 8A mainly refers of any length may be provided during the song (step 703). An to aband progressing through a tour, in other embodiments, a improvisational section may be in contrast to the scenarios single player world tour may also be provided. In some described above in which players must mimic a predeter embodiments, a unique single player tour may be provided in mined progression of gems to playa predetermined piece of 60 a game depending upon the instrument the player uses to play music. An improvisational section may allow players to the tour. freely perform on the microphone without requiring a specific In the tour mode, members of the band earn money by progression of notes or Sounds. In some embodiments, a traveling to various cities and countries and performing at player's actions during an improvisational section may have venues within the locations. A band may earn money for no impact on a performance meter. In some of these embodi 65 Successfully completing a show comprising one or more ments, a performancemeter may be removed from the display Songs at a venue. A band may spend money by purchasing during an improvisational section. items, hiring assistants, and renting venues. The game expe US 8,690,670 B2 37 38 rience may be provided in part by a number of servers which Venues may also pay a certain amount to a band or players host data related to abands progress through a tour and which within a band for a Successful performance. In some embodi comprise information about the venues and locations of the ments, the amount of money paid may be dependent on the tour. In this manner, the venues, locations, and songs avail quality of the player's performance. For example, a venue able to bands on a tour may be continually changed or updated may offer to pay each player of a band S500 per star (out of as new content is added to servers. Referring ahead to FIG. five) earned on their performance. In this embodiment, dif 8B, a block diagram of an example network environment for ferent members of a band may be paid different amounts Such a system is shown. based on their individual performances. In some embodi The band may earn fame by performing well, and lose fame ments, the amount paid to aband or player may be decreased by performing poorly. The amount of a band's fame may 10 if the band fails one or more songs. For example, ifaband fails determine the number and type of venues at which the band 1 Song out of a five song set, the band may only receive 4/5 of can play. For example, a band with a relatively low fame the original compensation. rating may not be able to access large arenas or concert halls. In other embodiments, venues may require that a band be Fame may be measured both locally with respect to a given playing at a given difficulty level. For example, a band play geographic region and globally. For example, a band may 15 ing at a low difficulty level may not be able to access large have a high fame rating in their hometown if they have played arenas or clubs. In still other embodiments, venues may a number of gigs there, but have a low fame rating in a foreign require that a band have a certain number of employees. For city if they have not played any gigs there. example, a gigata club may require that aband employ aband In some embodiments, a band may also have a “buzz” manager to book the gig. Or for example, a gig at an arena rating which is related to fame, but only calculated with may require that a band employ a number of set and/or light respect to a band's most recent gigs. For example, a band's ing personnel, in addition to a number of roadies to set up the fame may steadily increase as they perform a large number of band's equipment. shows well, and remain high even if a recent number of shows Any data relating to a band's progress or performance at a are poor. However, the “buzz” rating for the band may fall given venue may be stored on a server so that it can be much faster than their fame as a result of recent failures. In 25 accessed by members of the band and/or other players. For Some embodiments, the buZZ rating may be calculated rela example, a leaderboard may be maintained for each venue tive to previous performances. For example, a band may listing the bands with the best performances at that venue. receive buZZ points if their most recent performance was The following paragraphs provides one detailed example better than their previous performance, regardless of the of how a band may be created and managed using the funds absolute level of the performance. Likewise, a band may lose 30 earned by the band in the context of an XBOX environment. buZZ if their performance was worse than a previous perfor In this example, by default, all players are in a pick-up mance, regardless of the absolute level of their performance. band when they first begin a session in the online world tour In some embodiments, however, a band may not lose buZZ area of a game. At any time, the session leader has the option (and may even gain buZZ) if their performance is at a high of formalizing the group as aband. This may be accomplished enough level regardless of any previous performances. In 35 through a Band Management screen by selecting "Create Some embodiments, the amount of buZZ aband has may be New Band' and assigning the current pick-up mix of players decremented if the band is inactive for longer than a given a collective moniker. The location of the data being stored is period of time. dependent on the type of people in the band. If all players are In some embodiments, special events may be triggered local or in System Link mode, then the data is stored on the based on a band's changing fame and/or buZZ levels. For 40 band leaders local Xbox save. If any player is also on Xbox example, a band with a falling buZZ level may be granted Live, then the data is stored in the Band Leader's Xbox Live events for “washout' or “failure' bands. Or for example, a profile data for under the rock band game. In this example, by band with a rising buzz level may be eligible for “success” default, when all members of a band are in a session, the events, which may include bonus venues, songs, or prizes. Or session automatically converts to the applicable persistent for example, a band with a buZZ cycling from high to low and 45 band instead of a pick-up band. back to high may be eligible for “comeback' events. In this example, various band customization abilities are The venues available for band to play in may have a number available depending on the current fame and cash level of the of properties. In one embodiment, venues may have a mini band. Naming your band is available from the instant you mum amount of fame required to play in the venue. In some formalize the pick-up band as a persistent band. Creating a embodiments, venues may be stratified related to their capac 50 band logo is available once your band can play outside of ity and the amount of fame required for a band to be able to town, and costs a small amount of money. Using your band book them. For example, house parties, Small bars, and open logo as a stamp is available once a Merchandise Guy is hired, mic nights may require no fame or only a small amount of and costs money also. Making band posters for the practice fame to play. Clubs, radio contests, and battles of bands may room is possible once a Promotions Guy is hired, and costs require a moderate amount of fame to play in. Arenas, large 55 money. Making band signs for the stage is possible once a Set concert halls, and Outdoor venues may then require a larger Director is hired, and costs money. Spraypainting the band amount of fame to play. In some embodiments, the amount of logo on the main menu screen of the game is available for a fame required to playa Venue may vary depending on the type large amount of money. Downloading virtual Stickers to be of gig. For example, playing a Thursday night opening set placed on instruments or clothing may also be available for may require a smaller amount of fame than headlining a 60 Some amount of money. Saturday night show. In other embodiments, venues may Still referring to FIG. 8A, an example screenshot that may require a minimum amount of buZZ, or a minimum amount of allow a band to choose a set of Songs to play at a venue is increasing buZZ. shown. In some embodiments, a game may allow a band to Venues may also cost a given amount of money to rent. In select from a predetermined number of sets of songs to play at Some embodiments, this cost may vary depending on the type 65 a venue. In other embodiments, aband may choose any Songs of gig. In some embodiments, the cost of a venue may be to play at a given venue. In some embodiments, a venue may roughly proportional to the size and prestige of the venue. limit the number, type, artist, or difficulty of the songs which US 8,690,670 B2 39 40 may be played there. In other embodiments, a venue may new virtual instruments, new avatars, new avatar clothing, allow aband to play any songs. In some embodiments, the set new avatar animations, and music videos. In some embodi list chosen may affect the cost and/or reward for playing a ments, downloadable game content may be made freely avail given gig at a venue. In some embodiments, a set selection able. In other embodiments, downloadable game content menu may allow aband to see results of past sets the band has 5 must be purchased with earned in-game money or points. In played at a venue. In other embodiments, a band may only still other embodiments, downloadable game content might playa given set or song at a venue a limited number of times. be purchased using actual currency or currency equivalents This may be used to simulate a fan base in an area becoming such as XBOX LIVE points. In some embodiments, down tired of a given show. loadable content may be for use in a single player game. In In some embodiments, screens may also display a band 10 other embodiments, downloadable content may be for use in status (e.g. "Garage Band'). In some embodiments a band a multiplayer game. In some embodiments, all members of a status may reflect a band's current amount of fame. In other band must purchase the downloadable content for it to be used embodiments, a venue, event, or city selection screen may by the band. In other embodiments, only one member of a display the amount of money held by each player of the band, band must purchase the content for the content to be usable by the name of the band, and the name of the geographic location 15 the band. In some embodiments, downloadable content may the band is currently in. A band's selections and progress be purchased by a band as a whole. through a world tour may be saved on a server such that the In Some embodiments, downloadable content may be information is retrievable by any of the band members, offered in packs arranged by themes. For example, a down remote or local, at any time. In some embodiments, the band loadable pack may feature a number of songs, music videos, leader may be responsible for selecting the venue and gigs and avatar designs based on a real life band. Or for example, that aband plays. In other embodiments, aband may all have a downloadable pack may feature a number of songs, venues, to accept a given gig and venue before it is played. and avatar designs centered around a given style of music. In FIG. 8A, a star indicator may indicate how many stars Although a world tour mode has been shown, it should be (out of five for each gig) the band has earned, both globally understood that any other gameplay mode may be offered in and in the currently selected city. The stars earned may pro 25 the context of a rock band game. In some embodiments, a vide access to more venues and cities. The indicator 0 fans “quickplay” mode may be selected which allows a player or may be an indicator of the band's current buzz level, the band to quickly select and playa single song. In other embodi band's current fame level, or some combination of the two. ments, a practice mode may be provided which allows a In Some embodiments, a venue may have a prerequisite for player or band to rehearse a song. In some embodiments, the playing. For example, an arena may require that a band hire 30 practice mode may allow players to slow down or speed up a roadies before the band may play in the arena. A game may Song, or only rehearse a given section or lick of a song. All of provide any in-game mechanism for hiring virtual assistants. these modes may be offered in the context of both remote and In some embodiments, a band may recruit employees after local play. achieving a given amount of fame. In other embodiments, a Referring now to FIG. 9, an embodiment of a method for band may hire employees after earning a set amount of 35 allowing players to purchase real-world merchandise based money. In still other embodiments, employees may be on in-game characters and/or bands is shown. In brief over awarded to aband after completion of certain tasks or songs. view, the method comprises allowing a player or players to In some embodiments, a city selection screen may be pro create a character and/or band (step 901), and then storing vided. A city selection screen may allow a band to choose a data corresponding to the created character and/or band (step city to travel to and play venues in that city. In some embodi 40 903). The method may then include receiving an order for a ments, the cities available to aband may be determined based piece of merchandise corresponding to the band and/or char on one or more of a band's fame, money, or vehicles. For acter (step 905), and producing, using the saved data, the example, in Some games, a band might be required to own a merchandise (907). FIG. 9 also illustrates some examples of van before the band can play at cities outside the band's merchandise featuring bands or characters including a poster, hometown. In other games, a band might be required to pay a 45 t-shirt, and figure. given amount of money to buy plane tickets to a given city. In Still referring to FIG.9, now in greater detail, a player may other embodiments bands may choose to visit any type of create a character or band in any manner (step 901). In some geographic or geopolitical region, including without limita embodiments, a player may create a character using a char tion towns, Suburbs, blocks, districts, counties, states, coun acter creation screen which allows the player to customize a tries and continents. 50 number of player attributes such as appearance, clothes, gear, Referring now to FIG. 8B, one embodiment of a network gestures, demeanor, or any other character attributes. In other environment which may be useful for providing an online embodiments, a player may create a character over the course multiplayer game simulating a rock band experience is of a game by accumulating gear and altering the character's shown. The diagram is similar to FIG.1C with the addition of appearance as the game progresses. In some embodiments a a server 801 to store data related to bands and service requests 55 character may be created from a template or default character for band, venue, and location data. In some embodiments, the model. In some embodiments a band may be created using a server 801 may comprise a server farm. In other embodi band creation screen, which allows a player to customize any ments, the functionality of server 801 may be spread among a of the band attributes described herein. In some embodi number of different servers, potentially operated by different ments, a band may comprise a number of created characters. service providers. For example, in an XBOX game, data 60 Information corresponding to the created character or band relating to individual players and player leaderboards may be may then be stored in any manner (step 903). In some embodi stored in servers maintained in conjunction with XBOX ments, the information may be stored on a server 801. In other LIVE, while data relating to venues, bands, and locations may embodiments, the information may be stored on a players be stored in separate independent servers. game system. In other embodiments, the information may be In some embodiments, a player may be able to download 65 stored on a combination of the players game system and the game content from a server 801. Examples of game content server 801. The information may be stored in any format, and that may be downloaded may include new songs, new venues, may persist for any amount of time. US 8,690,670 B2 41 42 An order may then be received for a piece of merchandise The ordered merchandise may then be produced in any corresponding to the created character or band (step 905). The manner (step 907). In some embodiments, some or all of the order may be received in any manner. In some embodiments, production and shipping of the merchandise may be auto the order may be received from a web site operated in con mated. For example, after an order is placed, an e-commerce junction with a game. In other embodiments, the order may be server may transmit details of the order to a poster printer, received from an in-game store. In some embodiments, the including the image to be printed and the shipping address. order may be received bye-mail or other electronic messaging The poster printer may then print the poster and mail it to the protocol. In some embodiments, the order may be transmitted designated address. Or for example, an e-commerce server via the internet. In other embodiments, the order may be may transmit specifications of a figure ordered to a 3D printer 10 which may produce a 3D sculpture of a specified character in transmitted over a network operated in conjunction with a an automated fashion. The ordered merchandise may be game System. delivered to the consumer in any manner, including electroni In some embodiments, the merchandise may be sold for cally, by mail, by fax, and by hand delivery. money. In other embodiments the merchandise may be given Now referring to FIG. 10, examples of how a game may away, or sold for in-game currency. In still other embodi 15 produce a different gaming experience in response to differ ments, the merchandise may be ordered after completing ent hardware are shown. A game may comprise content for a certain in-game tasks. In still other embodiments, a character number of different simulated instruments, including any of or band must acquire certain items, experience, or fame the simulated instruments discussed herein. In some embodi before merchandise may be ordered featuring the band or ments, a game may alter the content and gameplay provided character. to a user in response to the simulated instrument the user The merchandise ordered may comprise any articles typi connects to a game System playing the game. cally sold as merchandise, including any merchandise typi For example, in the first column of FIG. 10, a player has cally associated with real worldbands. Examples of merchan connected a guitar to a game system. The game system detects dise that may be sold include, without limitation, key rings, the guitar and provides the gameplay experience of playing Sunglasses, watches, patches, posters, hats, visors, t-shirts, 25 guitar, which may include any of the guitar gameplay features long-sleeve t-shirts, Sweatshirts, polo shirts, golf shirts, belts, described herein. In addition the player's avatar is automati belt buckles, mugs, coffee cups, letter openers, paperweights, cally determined to be a guitar player. In other cases, a game action figures, statues, figurines, jackets, scarves, gloves, system may detect a drum set, microphone, or other instru Stickers, purses, bags, totes, jewelry, toys, and/or guitar picks. ment is connected to the system and provide the gameplay The merchandise may correspond to the character or band 30 interface for a drummer, singer, or other instrumentalist as in any manner. In some cases, the merchandise may be appropriate. The gameplay may be changed in any manner to imprinted with the name of the band or character. In other accommodate different hardware, including altering the embodiments, the merchandise may be printed with a picture interface, graphics, audio, Song selection, and scoring sys of the band or character. In still other embodiments, the mer tem. In some embodiments, one or more unique character chandise may be printed with a logo of a band or character. In 35 creation screens or characters may be provided for a number Some embodiments, the person ordering the merchandise of simulated instruments. In these embodiments, the charac may customize the way the band or character appears on the ters available to a player who is a drummer may be different merchandise. For example, the person may select a given pose than the characters available to a player who is a Vocalist. for their character's avatar to appear on a t-shirt. Or for In the second column of FIG. 10, a game is shown display example, the person may select a given venue for their band to 40 ing a quest or tour which is specific to the hardware connected appear on a poster of the band. Or for example, the person to the game. The player has connected a drum set to the game may select the size, location, color, and/or style of the logo, system, and accordingly the player is given the option of text, or image printed on the merchandise. In other cases, the playing a single player tour as a drummer, and as a drummer person may be able to select the color, size, or style of the character the player has created: “Drumlude.” The drummer underlying merchandise. Such as the color or size of the t-shirt 45 tour may contain unique content specific to drummers, on which their band appears. including unique songs, set lists, venues, gear rewards, scor In some embodiments, the merchandise may also indicate ing systems, fame calculations, buZZ calculations, quest accomplishments, fame, ratings, or skill of the character or length, and tour locations. For example, a drum tour may band. For example, a poster may be offered with a picture of include songs specifically chosen due to interesting or chal a character and caption reading “5 star performance on all 50 lenging drum parts. Or for example, a drummer may be songs.” Orfor example, a t-shirt may be offered with a picture rewarded with drum gear, Such as new drumsticks, drum of a band and a listing on the back of the shirt of a number of heads, or new percussion instruments as a result of perform gigs the band played along with the ratings the band received. ing well in a show. In other cases, a game system may detect Or for example, a figurine of a character may be ordered with a guitar, microphone, or other simulated instrument and pro a plaque stating that the character played to a sold-out arena. 55 vide unique tour content customized to the appropriate simu In Some embodiments, any or all of the order processing steps lated instrument. may be automated. For example, an e-commerce web site In some embodiments a single game may contain entire may be created for accepting merchandise orders. Upon a unique and separate single-player modes and quests for each person logging into the site, the person may be asked to of a number of simulated instruments which may be used with specify aband or character they would like to order merchan 60 the game. For example, a game may be sold which contains a dise for. After the person specifies this (and enters a password separate guitar, bass, drum, and singing campaign, with the if necessary), the e-commerce server may access the stored campaign that is presented to a player depending on the character or band data to create one or more images and/or hardware the player has connected to the system. text descriptions of merchandise that may be ordered featur In the third column of FIG. 10, a game is shown displaying ing the band or character. The e-commerce site may then 65 a multiplayer band formation screen displayed in response to comprise any means for the person to specify and customize specific hardware connected. A player has connected a micro their order before purchasing it. phone to the system, and as a result the game displays a US 8,690,670 B2 43 44 multiplayer interface in which the local player is assigned as For example, the table below illustrates three song progres the singer and may search for other simulated instrumental sions which may be provided depending on whether a guitar, ists as bandmates. In this embodiment, a game may alter a drum, or microphone controller is connected to the game multiplayer experience depending on the simulated instru platform. ment a player has connected to a game system. 5 Referring now to FIG. 11, a flow diagram illustrating one embodiment of a method for altering game content respon sive to detecting a type of controller used by a player of a Drum Microphone Guitar rhythm action game is shown. In brief overview, the method Song A Song B Song A 10 Song B Song C Song C includes: detecting, by a game executing on game platform, Song C Song E Song B that a first simulated musical instrument type of a plurality of Song D Song A Song F simulated musical instrument types is connected to the game Song E Song D Song E platform (step 1101); selecting, by the game in response to the detection, a first song progression from a plurality of Song 15 Although in the above example, the three song progres progressions, each Song progression corresponding to a dif sions have the same number of songs, in some embodiments, ferent simulated musical instrument type, and wherein at least different Song progressions may comprise different numbers two of the song progressions comprise different sequences of of Songs. For example, more songs may be available to be Songs (step 1103); and providing, by the game, a session of a played on drums than on guitar. rhythm-action game with the selected first song progression FIGS. 12A and 12B illustrate a player 1250 using a game (step 1105). console. Depending on whether the player has connected a Still referring to FIG. 11, now in greater detail, a game guitar controller 1260 or a drum controller 1280, a different executing on a game platform may detect a first simulated Song progression is displayed to the player. In the example musical instrument type of a plurality of simulated musical shown, the sequence of songs is different, and also a different instrument types is connected to the platform in any manner 25 number of songs are required for completion of the difficulty (step 1101). In some embodiments, the game may detect a level. unique serial number, device ID, control sequence, or other Referring now to FIG. 13A a flow diagram of a method for transmission sent from a device connected to the game plat altering gameplay mechanic responsive to detecting a type of form. For example, a game may be released to be used with controller used by a player of a rhythm action game is shown. both guitars and drums. The game may receive a device ID 30 In brief overview, the method includes detecting, by a game (which may comprise any signal or sequence of bits used to executing on a game platform, that a first simulated musical identify a device) from a device connected to the platform, instrument type of a plurality of simulated musical instrument and checkalist of known device IDs to determine whether the types is connected to the game platform (step 1101); select device is a simulated guitar controller or a simulated drum ing, by the game from a plurality of gameplay mechanics each controller. Or for example, the device may transmit a unique 35 corresponding to a different simulated musical instrument string which identifies the devices as either a drum or guitar type, a first gameplay mechanic corresponding to the first controller. The connection to the game platform may com simulated musical instrument type (step 1303); and provid prise any type of connection, including wired and wireless ing, by the game, a session of a rhythm-action game with the connections. selected gameplay mechanic (step 1305). In some embodiments, the game may detect a musical 40 Still referring to FIG. 13A, now in greater detail, after instrument type and a corresponding game controller. For detecting a type of controller connected to the game platform example, a game may detect a microphone is connected to the (step 1101) a game may select a gameplay mechanic based on platform, as well as a standard game controller. The standard the detected controller type. A gameplay mechanic comprises game controller may be used by the player using the micro any method for specifying input to e received from a player phone to navigate menus and other game functions. 45 and evaluating the player's response. In a rhythm-action A game may then select, in response to the detection, a first game, a gameplay mechanic may comprise any method for Song progression from a plurality of Song progressions, each displaying musical cues to a player and evaluating a players Song progression corresponding to a different simulated response. Although the method shown in FIG. 13A may be musical instrument type, and wherein at least two of the Song applied to any gameplay mechanics, three specific mechanics progressions comprise different sequences of Songs (step 50 will be discussed to provide detailed examples. 1103). A Song progression may comprise any sequence of The first gameplay mechanic, which may be referred to as Songs presented to a player of the game during the course of the 'guitar mechanic comprises displaying a series of cues play. to a player, which may correspond to a guitar track of a song. For example, a song progression may comprise a linear In this mechanic, the player executes the cue by activating the sequence of songs, in which a player must Successfully com 55 “strum bar while pressing the correct fret button of the plete each Song to advance to the next Song. Or for example, controller when a cue passes under the target marker. The a song progression may comprise a series of groups of songs, player may also execute certain cues by performing a “ham in which a player must complete a certain number of Songs mer on' or “pull off which requires quick depression or from a group before the player may advance to the next group. release of a fret button without activation of the strumbar. The Orfor example, a song progression may comprise a match 60 player is judged based on how closely the activations of the ing of a number of songs with a plurality of difficulty levels. strum bars and fret buttons match the provided cues. A guitar In this example, Songs may be assigned different difficulties mechanic may be selected by a game if the game detects a depending on which instrument is used to play the song. guitar controller connected to the platform. For example, a song may have a very difficult drum part, The second gameplay mechanic, which may be referred to but a relatively easy Vocal part. Thus the song may be placed 65 as the "drum mechanic, comprises displaying a series of cues higherina Song progression provided to a player using a drum to a player, which may correspond to a drum track of a song. controller than to a player using a microphone controller. The player executes the cues by Striking an appropriate drum US 8,690,670 B2 45 46 pad, or depressing a foot pedal, based on the displayed cues. overview, the method comprises: detecting, by a game The player is thenevaluated based on how closely the players executing on a game platform, that a first simulated musical activations of the drum pads and/or foot pedal match the instrument type of a plurality of simulated musical instrument provided cues. A drum mechanic may be selected by a game types is connected to the game platform (step 1101); select if the game detects a drum controller connected to the plat ing, by the game from a plurality of collections of level data, form. each collection corresponding to a different simulated musi The third gameplay mechanic, which may be referred to as cal instrument type, a first collection of level data correspond the “vocal mechanic, comprises displaying a series of cues to ing to the first simulated musical instrument type (step 1313): a player, which may correspond to a Vocal track of a song. The and providing, by the game, a session of a rhythm-action player executes the cues by singing the pitches and/or words 10 game with the selected collection of level data (step 1315). indicated by the cues. The player is then evaluated based on Still referring to FIG. 13B, now in greater detail, after how closely the player's pitches and words match the pro detecting the controller type (step 1101) a game may select a vided cues. A vocal mechanic may be selected by a game if collection of level data corresponding to the controller type the game detects a microphone connected to the platform. (step 1313). As used herein “level data refers to the series of Though three specific mechanics have been described, any 15 cues displayed to a player for a given Song. Thus, for a given other gameplay mechanics may be used. In some embodi Song, the level data may comprise a plurality of cues, each cue ments, the other gameplay mechanics may correspond to specifying a time and an action to be performed. A collection different musical instrument types. For example, a “keyboard of level data may comprise any set of level data. For example, mechanic' may be employed in which a player is evaluated a collection of level data might comprise level data for each of based on their activation of keys and foot pedals on a simu 15 songs. Or for example, a collection of level data might lated musical keyboard. comprise level data for each of 15 songs, each at four different The selection of the gameplay mechanic occurs without difficulty levels (that is, each difficulty level of a song may requiring user input. That is, a user who has connected a have a unique set of cues). guitar controller is not required to select "guitar from a menu A collection of level data may correspond to a type of to be provided with the guitar gameplay mechanic (however, 25 simulated musical instrument if the collection of level data is a user may select a part to play, such as whether to playa guitar related to musical events of the instrument type. That is, a part or a bass part of a song, both of which utilize the guitar Vocal collection of level data may comprise a collection of mechanic). Likewise, a user connecting a simulated drum level data corresponding to Vocal events (e.g. pitches and/or controller is not required to specify that they wish to play words Sung) for each of the songs in the collection. Likewise according to the drum mechanic. 30 a drum collection of level data may comprise a collection of In some embodiments, a game may select a gameplay level data corresponding to drum events (e.g. drums struck) mechanic for each of a plurality of local and/or remote play for each of the songs in the collection. The level data may ers. For example, a multiplayer rhythm action game may correspond to a type of simulated musical instrument by allow for guitar, drums, and vocals to be simultaneously specifying actions that can be performed by the controller performed by three players. The game may detect a controller 35 type. For example, level data might specify a particular pitch, type corresponding to each player, and assign each player the which may be performed by singing into a microphone. Orfor appropriate gameplay mechanic. example, level data might specify a particular fret button and After selecting a gameplay mechanic, the game may pro strum combination, which can be performed using a simu vide a session of a rhythm-action game with the selected lated guitar. Or for example, level data might specify a par gameplay mechanic (step 1305). In addition to the gameplay 40 ticular drum pad or foot pedal to activate on a simulated drum mechanic, a session may comprise any game elements known controller. to rhythm-action games, including without limitation Song After selecting a collection of level data, the game may performance, avatar display, crowd and venue animations, provide a session of a rhythm-action game with the selected menu navigation, character creation, Song selection, gig collection of level data. Referring to FIG. 13C, the game on selection, and career and tour modes. Any or all of these game 45 the game platform 1200 is providing vocal level data (lyrics elements may be determined based on the detected controller and relative pitches) to the player 1250 responsive to detect type. For example, if a drum controller is detected, a players ing a microphone 1360 connected to the platform. Likewise, avatar may be displayed as a drummer, and career events may in FIG. 13D, the game on the game platform 1200 is provid be tailored to reflect events that might happen to a drummer. ing drum level data (cues indicating drum pedal and footpad Referring ahead to FIG. 13C, a player 1250 has connected 50 activations) to the player 1250 responsive to detecting a simu a microphone 1360 to a game platform 1200. The game lated drum controller connected to the platform. responds by selecting the Vocal mechanic and providing a Referring now to FIG. 14, a flow diagram of one embodi session of a rhythm action game on the audio/video device ment of a method for displaying a foot-pedal cue in a rhythm 1220 using the vocal mechanic. In FIG.13D, the same player action game is shown. In brief overview, the method includes: 1250 has connected a drum controller 1380 to the platform, 55 displaying, to a player of a rhythm-action game, a lane and the game responds by providing a session of the game divided into at least two Sub-lanes, each sub-lane containing featuring the drum mechanic. As shown in these figures, cues indicating a drum input element (step 1441); and dis elements of the game's display and/or Sound, such as the playing, to the player, an additional cue spanning a plurality player's avatar, the relative Volume of tracks in a song (Such as of the Sub-lanes, the additional cue indicating a foot pedal by making the track of the instrument corresponding to the 60 action (step 1443). In some embodiments, the additional cue controller type louder), and the camera angles selected (Such may span all the Sub-lanes. In some embodiments, the addi as by selecting camera angles focusing on the instrument tional cue may be a different color than other cues. corresponding to the controller type) may be changed based Still referring to FIG. 14, a lane divided into at least two on the controller type. Sub-lanes, each Sub-lane containing cues indicating a drum Referring now to FIG. 13B, a flow diagram of a method for 65 input element, may be displayed to a player in any manner altering level data responsive to detecting a type of controller (step 1441). In some embodiments, a lane may be divided into used by a player of a rhythm action game is shown. In brief two sub-lanes. In other embodiments, a lane may be divided US 8,690,670 B2 47 48 into any number of Sub-lanes including without limitation, above or below each of the plurality of sub-lanes. For two, three, four, five, six, seven, eight, nine, or ten Sub-lanes. example, a cue may be displayed that appears to "hover over A sub-lane may comprise any division of a lane containing the plurality of sub-lanes. Or for example, a cue may be cues corresponding to a single input element, and may com displayed that appears to be attached to the bottom or hover prise any shape or orientation. ing beneath each of the plurality of the plurality of sub-lanes. In some embodiments, lines or other demarcations may be In some embodiments, a cue spanning a plurality of Sub displayed in between Sub-lanes. For example, referring back lanes may have one or more cues corresponding to an indi to FIG. 1A, a line is used to indicate a separation between vidual sub-lane overlaid on the cue. For example, the cue sub-lane 171 and sub-lane 172. In other embodiments, no 1500 in FIG. 15A is displayed such that it appears to be Such line or demarcation may be displayed. For example, 10 “under the cue 1522. Likewise, the cue 1524 in FIG. 15C is referring ahead to FIG. 15A, the lane shown is divided into overlaid over the cue 1504. This may be done to indicate a four sub-lanes, 1551, 1552, 1553, 1554 which are not sepa foot-pedal action simultaneous with one or more drum pad rated by lines or other indicators. strikes or other actions. In other embodiments, a cue spanning In some embodiments, each Sub-lane may contain cues a plurality of sub-lanes may be displayed Such that it appears corresponding to a different drum pad. For example, a lane 15 “over any cues corresponding to the individual Sub-lanes. may be divided into four sub-lanes, each sub-lane corre In some embodiments, a cue spanning a plurality of Sub sponding to one of four drum pads. Referring ahead to FIG. lanes may comprise a different color than any of the cues 15A, an example diagram of Such a lane is shown. The lane is corresponding to individual Sub-lanes. divided into four sub-lanes, 1551, 1552, 1553, 1554. Each Referring now to FIGS. 16A and 16B, additional examples lane may correspond to a drum pad in a linear arrangement. of a display of a cue spanning multiple Sub-lanes are shown. For example, using the drum set 500 from FIG. 5A, sub-lane In FIG.16A, a lane is divided into four sub-lanes 1620, 1621, 1551 may correspond to drum pad 502a, sub-lane 1552 may 1622, 1623. A cue 1600 spans the three sub lanes 1621, 1622, correspond to drum pad502b, sub-lane 1553 may correspond and 1623. In the illustration shown, the sub-lanes 1621 and to drum pad 502c, and sub-lane 1554 may correspond to drum 1620 are separated by a larger divider than the other sub pad 502d. As used herein a “linear arrangement of drum pads 25 lanes, forming two divisions 1630, 1631. This may be done to or other input elements does not necessarily indicate input indicate that the sub-lanes on one side of the divider corre elements arranged in a straight line, but rather any arrange spond to a certain set of drum pads, while the Sub-lanes on the ment of input elements which have a clear left-to-right other side of the divider correspond to a different set of drum sequence or top-to-bottom sequence. For example, the drum pads. In FIG. 16B, a lane is divided into five sub-lanes 1624, set 500 may be configured such that the pads 502a, 502b, 30 1625, 1626, 1627, 1628. The lane is also divided into two 502c, 502d are arranged in a curve where pads 502a and 502d divisions 1632, 1633. The cue 1601 spans both sub-lanes are moved closer to the player. In this case the pads still 1624 and 1625 and may be used to indicate a foot pedal comprise a linear arrangement for purposes of this descrip action. tion, as they still have a clear left-to-right sequence. In some embodiments, multiple foot pedals may be used, In some embodiments, cues in each Sub-lane may always 35 and different types of cues spanning multiple sub-lanes may correspond to a given percussion sound during a song. For be used to indicate which pedal a user should strike. For example, cues in sub-lane 1550a may correspond to a snare example, a drum set may comprise an orange color-coded drum, while cues in sub-lane 1550b, 1550c may correspond pedal and a purple color-coded pedal. An orange cue Span to tom-tom sounds while cues in sub-lane 1550d may corre ning all the Sub-lanes may be used to indicate the user should spond to crash cymbal Sounds. In other embodiments, cues in 40 step on the orange pedal, and a purple cue spanning all the Sub a single Sub-lane may correspond to different percussion lanes may be used to indicate the user should step on the Sounds over the course of a song. For example, during the purple pedal. Or, for example, a drum set may comprise a left course of a song, gems in sub-lane 1550d may first corre foot-pedal and a right foot-pedal. A cue spanning a plurality spond to cowbell Sounds, and then correspond to a crash of Sub-lanes on the right side of a lane may indicate the right cymbal Sound. In some embodiments, the display of cues 45 foot pedal, while a cue spanning a plurality of sub-lanes on the within a Sub-lane may be changed to indicate to a user that the left side of a lane may indicate the left foot pedal. In this case, cues represent a different percussion Sound. a display similar to FIG.16B might be used, where a cue 1601 Referring back to FIG. 14, a cue spanning a plurality of the spanning the entire division 1632 would indicate a left foot Sub-lanes may be displayed in any manner (step 1443). In pedal action, and a cue spanning the entire division 1633 Some embodiments, the cue may indicate a foot-pedal action. 50 would indicate a right foot pedal action. In some embodiments, the cue may span all the Sub lanes, Although cues spanning multiple Sub-lanes have been such as the cues 1500 and 1501 in FIG. 15A, the cues 1502, described above in the context of indicating foot-pedal 1503 in FIG. 15B, or the cue 1504 in FIG. 15C. The cue actions, they may be useful in for indicating any other type of spanning a plurality of the Sub-lanes may be displayed in any input event. In some embodiments, cues spanning multiple shape, size or color. 55 Sub-lanes may be used in any case where a series of X input A cue may span a plurality of Sub-lanes by occupying a elements corresponds to a series of X sub-lanes, and there is portion of visual space corresponding to each of the plurality a need to indicate an additional input action not in the series. of sub-lanes. In some embodiments, a cue may span a plural The use of a cue spanning multiple lanes can serve as a clear ity of Sub-lanes by being displayed as covering some or all of indication to the player that the additional input action is each of the plurality of sub-lanes. For example, the cue 1503 60 different in character and/or location than the input elements in FIG. 15B covers a portion of each of the sub lanes 1555, in the series. 1556, 1557, and 1558. Orfor example, the cue in 1500 in FIG. Referring now to FIG. 17, a lane 1712 is divided into 5 15A covers a portion of each of the sub lanes 1551, 1552, sub-lanes 1724, 1725, 1726, 1727, 1728, each corresponding 1553, and 1554. This is true even though a portion of the cue to a fret button on a simulated guitar. Each sub-lane thus may 1501 in sub-lane 1552 is in turn overlaid by a cue 1522 which 65 contain cues that, when they reach the target marker, indicate corresponds to sub-lane 1552. In other embodiments, a cue the user should depress the corresponding fret button and may span a plurality of sub-lanes by being displayed in space strum the simulated guitar. Cues 1701, 1702 spanning all the US 8,690,670 B2 49 50 sub-lanes 1724, 1725, 1726, 1727, 1728 may indicate an cause their icon on a performance meter to change to red. “open strum,” that is, where the player strums a guitar without After the player fails, the icon may change from red to black depressing any fret buttons. or gray. Other examples of input actions that may be indicated by a In some embodiments, a band's overall performance may cue spanning multiple Sub-lanes include, without limitation, a be adversely affected by the inactivation of a member. For foot-pedal-action on a simulated keyboard, a striking of a example, a failed band members performance may be con microphone, and a tilting of a guitar. tinually given the lowest possible rating. This low rating may Referring now to FIG. 18, a flow diagram of one embodi then pull down the average rating of the band. In other ment of a method for reinstating a player within a rhythm embodiments, the failed player may continually be docked action game is shown. In brief overview, the method includes: 10 changing the status of a first player of a rhythm-action game for notes that the player should be playing if not for the from an active play status to an inactive play status during a player's failure. In these embodiments, the continual missed performance of a song (step 1801); determining that a value, notes may serve as a drain on the performance of the band. In associated with a second player of the rhythm-action game, Some embodiments, after a player has failed, the penalty for exceeds a predetermined threshold (step 1803); detecting an 15 other players missing notes may be raised. In some embodi action of the second player; the action generated via manipu ments, after a player has failed, a drain may be applied to the lation of an input device by the second player (step 1805); and band's performance rating Such that if the player is not rein reinstating the first player, in response to the determined value stated in time, the band as a whole will fail the song. For and the detected action, to an active play status during the example, the performance meter 1920 in FIG. 19 illustrates a performance of the song (step 1807). In some embodiments, visible “drain 1907 that indicates the band's rating is con a bonus may be subtracted from the second player as a cost of tinually dropping while the guitarist is inactive. the reinstatement. In some embodiments, a total performance Referring back to FIG. 18, a method for reinstating a player level for the band may be drained during the time a player is may comprise determining a value, associated with a second inactive, providing additional incentive for a band mate to player of the rhythm-action game, exceeds a predetermined reinstate the failed player. 25 threshold (step 1803). The determination may be made in any Still referring to FIG. 18, now in greater detail, a game may manner, and at any time. In some embodiments, the determi change the status of a first player of a rhythm-action game nation may be made prior to, simultaneous with, or after the from an active play status to an inactive play status during a inactivation of the first player. performance of a song (step 1801). In some embodiments, the In some embodiments, the value associated with the sec player may be changed to an inactive status as a result of 30 “failing the Song. A player may be determined to fail a song ond player may comprise an amount of bonus stored by the in any manner. In some embodiments, a player may fail a song player. In cases where a player may accumulate bonuses by by missing more than an allotted threshold of notes. In other Successfully executing designated series of notes, a game embodiments, a player may fail a song by missing more than may then determine whether the amount of accumulated an allotted threshold of consecutive notes. In some embodi 35 bonus of the player exceeds a given threshold. For example, a ments, a player may fail a song by missing one or more player may be required to successfully execute two desig specially designated notes or phrases. In other embodiments, nated series of notes before the player reaches the predeter a player may fail a song by allowing their performance to mined bonus threshold. reach the bottom of a meter. In still other embodiments, a A method for reinstating a player may also comprise player may fail a song if their performance is at the bottom of 40 detecting an action of a player (step 1805). An action of a a meterin excess of a predetermined amount of time. A player player may comprise any movement, Sound, and/or manipu may be determined to fail a song at any point during a song. lation of an input device. In some embodiments, the action Removing a player from active participation may comprise may comprise the pressing of a button or strumming of a any method of discontinuing a players involvement in per strum bar. In some embodiments, the action may comprise forming the song. In some embodiments, a failed player may 45 moving a simulated instrument, Such as tilting a guitar con no longer be allowed to hit notes or cues comprising the troller. In other embodiments, the action may comprise strik player's part. In some embodiments, the audio corresponding ing a drum pad. In other embodiments, the action may com to the player's part in the band may be silenced. In some prise generating Sound into a microphone. embodiments, a lane corresponding to the inactive player In some embodiments, the action may be time-sensitive. may be removed from the display. For example, referring 50 For example, a player may be required to strike a given drum ahead to FIG. 19, the lane for the lead guitarist has been pad at a predetermined time. Such as striking a pad corre removed 1903 from the display as a result of the guitarists sponding to a cymbal crash at the end of a drum fill. Or for performance indicator 1905 reaching the bottom of the meter. example, a player may be required to make noise into a In other embodiments, a lane for an inactive player may be microphone during a time when no lyrics are displayed. showngrayed out, Smaller, or with other graphical indications 55 In some embodiments, a player may be specifically of the failed status. prompted to perform the action if another player has failed In other embodiments, any other graphical or audio output and the player has enough accumulated bonus to 'save the may be used to indicate a player has failed a song. In some failed played. Referring ahead to FIG. 19, the rightmost lane embodiments, the failed players avatar may become dejected, displays a prompt 1904 indicating that if the player tilts their stop playing the instrument, and/or be removed from the 60 guitar, it will restore the failed player. In some embodiments, stage. In other embodiments, the player's avatar may be dis a prompt may specifically call the players attention to what played along with graphical text stating “failed. In other type of action needs to be performed. In other embodiments, embodiments, the crowd may be shown to boo, heckle, taunt, a prompt may simply let a player know they have exceeded or otherwise indicate dissatisfaction with the failed players the threshold needed to bring back a failed player. In FIG. 19. performance. In some embodiments, the crowd meter may 65 the leftmost lane may display the icon because the player in change color, size, or otherwise indicate that a player has that lane has accumulated enough bonus (shown by meter failed a song. For example, a player performing poorly may 1911) to be eligible to save the failed bandmate. The player in US 8,690,670 B2 51 52 the center lane has not accumulated enough bonus (indicated In some embodiments, the number of times a player may be by meter 1913) to be eligible to save the fallen bandmate, and reinstated during a song may be limited. For example, a thus no icon is displayed. player may only be allowed to be reinstated twice during a Referring back to FIG. 18, the first player may be reinstated given Song. If the player fails the Song a third time, the player to an active play status during the performance of the Song in 5 may be kept inactive for the duration of the song and ineli response to the determined value and the detected action (step gible for reinstatement. In some embodiments, the number of 1807). The player may be reinstated in any manner. In some times a player may be reinstated during a performance of a set embodiments, the player may be reinstated with a predeter of Songs may be limited. For example, a player may only be mined level of performance. For example, a reinstated player allowed to be reinstated twice during a given performance. If may have their performance set in the middle or top of a 10 the player fails a song a third time during the performance, the performance meter. Once the player has been reinstated, the player may be kept inactive for the duration of the perfor player may resume their participation in playing the song as mance. In some embodiments, the number of times a player is they did previously. Likewise, the audio corresponding to the allowed to be reinstated may be varied based on a preset player's performance may be resumed. In some embodi difficulty level. In other embodiments, the number of times a ments, the reinstated player may be given a brief pause 15 player is allowed to be reinstated may be varied based on the between the time the player is reinstated and when the player instrument type corresponding to the player. has to resume playing, in order to give the reinstated player Referring now to FIG. 21A, a flow chart illustrating one time to prepare to resume playing. embodiment of a method for allowing players to form tran A player reinstatement may be indicated graphically and/ sient online bands is shown. Players may form online bands or aurally in any manner. In some embodiments, a lane cor- 20 for the purpose of playing a rhythm action game coopera responding to the player that has been removed may reappear. tively and/or competitively with remotely located players. In In other embodiments, a player's avatar may return to the brief overview, the method comprises plugging into a local stage, become energized, resume playing their on-screen machine which assigns the player, who has chosen a character instrument, or otherwise indicate their reinstatement. In some to playas, to a slot. One or more additional local players may embodiments, the crowd may cheer, encourage, or otherwise 25 join. The player may then find additional players, invite spe indicate renewed approval for the reinstated player. cific players, or remove players from the band. Once the band In some embodiments, the reinstated player may be shown slots have been filled, the game may begin. Although FIG. with a message “resurrected' or a similar message indicating 21A discusses online functionality in the context of that the player has returned. In other embodiments, the player MICROSOFTXBOX LIVE, it should be understood that any who saved the failed player may be shown with a graphic 30 game system and any network functionality associated with stating 'savior” or a similar message identifying the player as any game system may be used. the player who resuscitated the failed player. Referring to Still referring to FIG. 21A, a player may decide to play an FIG. 20, the player corresponding to the leftmost lane (bass) online experience by selecting an option from a menu. In has just been saved by the player corresponding to the right Some embodiments, a game may provide a “quickplay most lane (lead guitar). The lead guitarist's avataris displayed 35 option in which a player may play one or more songs with a on Screen with the message “savior. In this manner the saved number of other players without first creating a persistent player may be informed who was responsible for his rein band. Throughout the description, this mode may be referred Statement. to as “quickplay' or “transient band' mode. Referring back to FIG. 18, in some embodiments, after the The game may first detect whether one or more local play first player is reinstated, an amount of bonus assigned to the 40 ers are present, and which simulated instruments the local second player may be reduced (step 1809). In some embodi players would like to use. In some embodiments, the game ments, reinstating a player may "cost a certain amount of may detect the type or types of controllers plugged into the bonus. For example, a player's bonus meter may be reduced game to determine the simulated instruments used by the by one quarter as the cost for saving a bandmate. This bonus local players. In other embodiments, the game may allow a reduction may require that the second player earn more 45 player to select their instrument. For example, if the game bonuses before they are able to reinstate another bandmate. In detects that a player has plugged in a guitar controller, the Some embodiments, reinstating a failed player may take the game may allow a player to choose between playing guitar or place of any other effects (e.g. score multipliers, and/or bass parts. For local players, slots in a band may also reflect graphical and aural effects) that would typically be associated the order the controllers are plugged into a game system, with activating a bonus. In other embodiments, a player may 50 and/or the arrangement in which the controllers are plugged be reinstated in addition to any effects that typically accom into given physical slots on the game system. Orfor example, pany bonus activation. slots in a band may reflect the order avatars appear on stage Though FIG. 18 illustrates reinstating a player in response during performances. to an action by a second player, in Some embodiments, the After the game has detected a local player using a simu activation may be automatic. For example, if a player's bonus 55 lated instrument, the game may allow the player to select or meter becomes full, the bonus may automatically be activated create a character to represent the player in the game. A and the failed player may be reinstated. character may comprise any information to the player, and In other embodiments, a player may be able to resuscitate may be customized by the player in any way. Character a bandmate simply by performing an action, such as tilting attributes which may be set by a player and/or set automati their guitar controller without the requirement of accruing a 60 cally include a character name, Screen name, hometown, certain amount of points or bonus. Or, for example, a player motto, favorite music, skill level, amount of in-game money, may be able to reinstate a bandmate by executing a specific bands the character is a member of and amount of in-game sequence of actions. Such a sequence of actions may be fame. In some embodiments, a player may be able to custom adjusted based on the difficulty level of the failed player ize an avatar representing the character. A player may alter and/or the player attempting reinstatement. Or, for example, a 65 any attribute of an avatar including without limitation gender, player may be able to reinstate a bandmate by Successfully appearance, clothing, style, gestures, size, height, color, in completing a mini-game during the song. game instrument, gear, demeanor, tattoos, face paint, and US 8,690,670 B2 53 54 makeup. In some embodiments, a player may modify their player may be prompted as to whether they want to join the avatar's clothing or instrument with virtual stickers. In some matching band instead of finding players for their own band. embodiments, a player may save a character so that it can be A search algorithm used to match players may match play accessed later. In other embodiments, the character may be ers based on any criteria including, without limitation, skill, erased after a use. In some embodiments, character data may latency, experience, instrument, physical location, language, be uploaded and/or saved on a server So that other players may and hardware. For example, in one embodiment, a search view the character. In some embodiments, a server may pro algorithm may first search for players of the required instru vide a leaderboard or similar feature which allows users to ments of a comparable skill level. In some embodiments, skill browse through a listing of characters and view their past level may be measured using a history of past online perfor performance. In some embodiments, a single player may be 10 mance. After identifying a pool of comparably skilled players able to create and/or maintain multiple characters. of the required instruments, the search algorithm may select After a player has created a character or selected an already the player with the lowest latency to the forming band. In this created character, the player may be taken to a screen which embodiment, the latency measure may be either the latency allows the player to assemble or join a band. Referring ahead between the potential players and the searching player or to FIGS. 22A and 22B, example screenshots of a band selec 15 between the potential players and a given server. tion screen are shown. This example screen may be used in After a transient band is formed, the band may then be conjunction with the band matching methods illustrated in given the opportunity to play one or more songs as aband. In FIGS. 21A and 21B. In brief overview, in FIG.22A the player Some embodiments, one or more members of the band may be “rocker himX is currently joined to playas a band sing the replaced after a song. In some embodiments, a transient band avatar “Jillian'. Three open slots labeled “searching” are may be given the option to change into a persistent band. shown signifying that searching for these members is taking Referring back to FIG. 21A, after connecting a controller place online. and selecting a character, a player may also have the option of Aband may have a leader who is designated as the decision starting a session with a persistent band of which they are a maker for certain matters involving the band. In some member. This is shown in FIG. 21A as the “assemble aband' embodiments, the band leader may have the sole authority to 25 flow. In that flow a player selects aband they area member of find new players for a band, which may entail either asking and then invitations are sent to the other players to join a specific players to join or using an online player matching session as that band. Invitations to other players can be sent service. In some embodiments, the band leader may have the via any means, and appear on the other players' screens in sole authority to remove band members. any manner. Invitations may be sent using the “Invite Friend’ As shown in FIG. 21A, after arriving at the band formation 30 menu option as shown in FIGS. 22A and 22B. In one embodi screen, a player may be able to invite one or more local or ment, each invited player may receive a pop-up message remote players to join the band. In some embodiments, the saying “Player has invited you to play with the player may be able to select from a list of friends, or a list of band. If a player accepts an invitation to join a players the player has previously played with to invite. In band, they may be displayed on a screen such as FIG. 22B, other embodiments, the player may be able to search through 35 with the indication “player who invited them's Guest' a listing of players to invite. In these embodiments, the listing A game may also provide a screen for creating and editing may be sorted by skill level, latency, instrument, physical properties of aband. These properties may be stored locally or location, experience, or username in order to aid the players on a server. Properties of aband may include the names of the search. In some embodiments, after a player has joined a band members, the date the band was created, the name of the band, the player may be able to select the character they want 40 band leader, the number of songs the band has performed, the to playas. For example, in FIG. 21, the player “rocker hmx' amount of fame the band has accumulated, the current may select among a number of characters that player has amount of “buzz' surrounding the band, the number and type created using a “selectrocker option (shown in FIG.22A), or of venues the band has played at, the band’s “hometown, a may have the option to create a new character. In some band logo, band possessions such as vehicles, equipment, and embodiments, certain characters may not be available to a 45 money, and band employees, such as roadies, set designers, player if the characters correspond to a different instrument managers, and agents. In some embodiments, some or all of than the user is playing. these properties may be set by a member of the band or by the Aband formation screen may also have the option to search band leader. In other embodiments, some or all of these prop for additional remote players in the cases where there is not a erties may be determined by a central server tracking the specific player the player would like to invite into the band. 50 band's progress. In some embodiments, an external web site Referring ahead to FIGS. 22A and 22B this may take the form may be provided which allows a bands attributes and/or of a “Search' and/or “Cancel Search' menu option displayed. progress through a tour to be viewed over the internet In one This option (which may also be included in the screen of FIG. of these embodiments, the web site may give bands an option 22B) may employ an algorithm which finds players of similar to make their attributes and statistics public. skill to play against. After a player has selected to search for 55 Referring now to FIG. 21B, a flow chart illustrating an players, the player may also be able to cancel the search, Such embodiment of a method for matching Suitable remote play as if the search is taking too long, or another local player ers to one or more local players of a rhythm-action game is arrives. In some embodiments, after a player selects to search shown. In brief overview, the method comprises: identifying for more players, the one or more players found by the search one or more local players to participate in a networked session algorithm will appear in the slots as members of the band. In 60 of a rhythm action game corresponding to a predetermined other embodiments, a player may be prompted "do you want band template, each local player associated with a type of to allow player to join'?” and allowed to select yes simulated musical instrument (step 2101); identifying a first or no. In any of these embodiments, the band leader may be type of simulated musical instrument represented in the pre able to kick out a player after they have joined. In some cases, determined band template and not associated with any of the after a player selects to search for players, a search algorithm 65 one or more local players (step 2103); identifying a remote may determine that the player matches with another, larger, player associated with the first type of simulated musical partially formed band looking for players. In these cases, the instrument (step 2105); and providing a networked session of US 8,690,670 B2 55 56 the rhythm action game with the one or more local players and the players friends, and upon selecting a friend, an invite the identified remote player (step 2107). Any of the steps message is sent to the matchmaking server, which then relays shown may be performed by a game console, a centralized the message to the friend if he is currently playing the game. server, or a plurality of game consoles. If the friend accepts the invite, he is given the appropriate Still referring to FIG. 21B, now in greater detail, one or information that will allow him to connect to the session, even more local players may be identified to participate in a net though it may still be private on the matchmaking server. An worked session of a rhythm action game corresponding to a invite system may be structured such that the friend can predetermined band template, each local player associated receive an invite while in any game mode (e.g. mid-song, in with a type of simulated musical instrument. The local play single-player modes...). In this way, it does not require him ers may be identified by any means and at any time. For 10 to be sitting in a lobby to see that his friend would like to play example, the local players may be identified by one or more with him. simulated instruments connected to the local game console. A user may also decide that he would like to play with The local players may be identified at different times. For strangers. To do this, he selects a “Find Players' option on the example, a local player may begin searching for remote play matchmaking screen. At this point, the screen goes into a ers, and another local player may join midway through the 15 'searching state. A matchmaking algorithm optimized to remote search process or after the remote search process has form complete bands as quickly as possible may then be been completed. started: Aband template may comprise any specification of allow 1) The player's console identifies the instruments that are able instrument types and numbers of those types for a present locally and then sends a search request to the rhythm-action game. A band template may specify minimum matchmaking server along with a list of the instruments and/or maximum numbers for each instrument type. For that the local band contains. The matchmaking server example, a band template may specify that a band may have will search its database for every session that has marked up to two guitarists, one drummer, and one Vocalist. Or for itself as “public, and returns a list of the sessions that example, a band template may specify that a band must have have the correct empty instrument slots. For example, if at least one guitarist, at least one Vocalist, and no more than 25 the searching session has a guitarist and drummer, the one drummer. Or for example, a band template may specify matchmaking server will filter out every session that that a band may have a guitarist, a bassist, a drummer, and a already has a drummer, or two guitarists. Note that hav Vocalist. ing one or no guitarists is acceptable since bands can The method may then comprise identifying a first type of have two guitarists, but only one drummer. simulated musical instrument represented in the predeter 30 2) The console receives the list of viable sessions and sorts mined band template and not associated with any of the one or them, giving higher priority to sessions that have fewer more local players (step 2103). For example, if a guitaristand available slots. This may enable full bands to fill up a drummer are the local players, and the band template speci quickly and can proceed to playing the game. It may also fies that a band includes a guitarist, a bassist, a drummer, and reduce load on the server to have sessions removed from a Vocalist, the method may identify that a Vocalist and bassist 35 the public pool as quickly as possible. are the types not represented locally. This identification may 3) The console attempts to join the first session in the list, be performed either by the local console, a central server, or a where the hosting console performs a full handshake and remote console. The method may then comprise identifying a Verification that the instrument configuration is legal. remote player associated with the first type of simulated The hosting console will reject the remote console if the musical instrument (step 2105). The remote player may be 40 slots have already been taken, if the remote console is further identified by any criteria, including without limitation currently attempting to join a different session, or if the the remote player's presence in a group having one or more remote console has already moved on past the match other needed instrument types. making screen. After the players have been identified, a networked session 4) If the join is Successful, the algorithm stops and the of the rhythm action game may be provided with the one or 45 console is now a member of another's session. Other more local players and the identified remote player (step wise, the game looks at the next session in the list and 2107). The session may be hosted on any of the local console, repeats step 3 as many times as there are results in the the remote console, or a central server. The session may list. comprise any of the gameplay described herein, and may 5) If the game has gone through the entire search list and comprise a persistent band or a quickplay session. 50 has still been unable to join another session, he then tells Quickplay Example the server to mark his own session as “public”. At this The following paragraphs provide a detailed example of point, another console may join his session. If this ever how online matchmaking may be implemented in a game that happens, the game will stay in this “public' state until allows up to four players to play together, including 2 guitar the band fills up or the host decides to move on with an ists, 1 Vocalist, and 1 drummer. In the quickplay mode, play 55 incomplete band. Also, once a remote user has joined, ers are able to form a cooperative band to play Songs without the game will never move on to the next step. Note also any persistent data stored about their team. A full band con that the host must update its current instrument configu sists of 1 drummer, 1 vocalist, and 2 guitarists. When the user ration on the matchmaking server every time a new first enters our matchmaking screen, he is allowed to join the console joins the session. band and become its leader. Any other players in the same 60 6) The game waits a random amount of time between 10 room can also connect instruments to the console and join up and 20 seconds. If no remote console joins the session in as members of the band. this time, he sends another search ping to the matchmak At this point in the process, the player has created a session ing server and repeats 2-5. The session will stay “public' on a matchmaking server. However, the session is marked as on the server, but will reject any join requests if he is “private’, meaning that no one else can see that it exists yet. 65 currently waiting for a join request from another host. If the player only wants to play online with friends, he then 7) Once a full complement has joined the session and/or the selects an “Invite Friend' button. This will bring up a list of user of the host console designates that he is satisfied US 8,690,670 B2 57 58 with the band composition (which may include the user “substitute' or a temporary member of the band, though the deciding to play with one or more open slots) a game host may decide to promote him to a permanent member. starts with the joined consoles. If the player chooses aband that he has already created, he Head To Head Example will be taken again to the matchmaking screen. As before, he In some embodiments, the matchmaking algorithms 5 will have the option to invite his friends or allow strangers to described herein may be applied to head-to-head competitive join the band if he wishes. However, any other remote player modes, such as one-on-one remote competitions and remote that he has already added to the band's permanent roster will “battle of the bands' competitions. Matchmaking with also be able to join into the band, even without him explicitly Strangers inhead to head modes uses a modified version of the inviting the player or making the session public. 10 If a player chooses aband that he is a member of, but is not above algorithm, in which players are grouped with oppo the owner, he is taken to a searching screen. He sends a special nents that are using the same instrument type. request to the matchmaking server which contains the unique In some modes, players with a guitar controller are ID of the band. The matchmaking server looks through all its required to choose whether they want to playa song's guitar existing sessions to see if the owner is currently playing Band part or bass part before they enter the matchmaking screen. In 15 World Tour for that band. Even if the session is marked as those cases, guitarists are only matched up with other guitar private, the matchmaking server will return the connection ists who chose the same part that they did. In other modes, info for the session so that the user can join up. This structure users are required to choose a difficulty level before they are ensures that the band owner doesn't have to send out invites to match. In those cases, only players that have chosen the same each friend to join the session. difficulty will be grouped together. Aspects of the present invention may be provided as one or Head-to-head modes may fall into two general categories: more computer-readable programs embodied on or in one or “Player Match” and “Ranked'. Player Matches are casual more articles of manufacture comprising computer readable encounters in which no stats are recorded. In Player Matches, media. The article of manufacture may be a floppy disk, a hard the user may invite his friends to play with a mechanic that is disk, a CD-ROM, DVD, other optical disk, a flash memory similar to Band Quickplay. In Ranked matches, details about 25 card, a PROM, a RAM, a ROM, or a magnetic tape. In gen the winner and loser are tracked so that users may be ranked eral, the computer-readable programs may be implemented in on a leaderboard. Players are not allowed to invite friends to any programming language, LISP, PERL, C, C++, PROLOG, play them in a Ranked match, as that would allow players to or any byte code language such as JAVA. The Software pro rig matches in order to abuse the ranking system. grams may be stored on or in one or more articles of manu Persistent Band Example 30 facture as executable instructions. In some embodiments, In some embodiments, the matching methods described portions of the Software programs may be stored on or in one herein may be applied to persistent band modes. For example, or more articles of manufacture, and other portions may be a game may provide a “World Tour option which allows made available for download to a hard drive or other media persistent bands to make progress as a group together through connected to a game platform. For example, a game may be a set of venues, events, and Songs, and resume their progress 35 sold on an optical disk, but patches and/or downloadable later if they desire. content may be made available online containing additional After choosing the persistent mode, a player chooses one of features or functionality. four options: Having described certain embodiments of the invention, it 1) Start a new band will now become apparent to one of skill in the art that other 2) Substitute for an existing band 40 embodiments incorporating the concepts of the invention 3) Select an existing band that the user owns may be used. Although the described embodiments relate to 4) Select an existing band that the user is a member of but the field of rhythm-action games, the principles of the inven does not own tion can extend to other areas that involve musical collabora When a player chooses to start a new band, he will own the tion or competition by two or more users connected to a band. The user is taken to a matchmaking screen that may 45 network. look similar to the matchmaking screens for Quickplay (e.g. FIGS. 22A and 22B). Just as in the other modes, the user can The invention claimed is: keep his session private and invite his friends directly into the 1. A method for instructing a display, coupled to a game session. He can also select “Find Players,” which will mark console, to display a performance meter indicative of one or his session as public. At this point, random Strangers may join 50 more performance levels associated with a plurality of play his session, provided they have the correct instruments. ers in a rhythm action game, the method comprising: Unlike Band Quickplay, however, this mode may not prompt calculating, by the game console, a player score for each of the player's console to start looking for sessions to join. In the plurality of players playing the rhythm action game persistent mode, the creator of the band may be guaranteed to within a band, each player score representing a perfor be the host. After the user has proceeded past the matchmak 55 mance level of a particular player, ing screen, he will have the option to make any users currently calculating, by the game console, a composite score for the in the session permanent members of the band if desired. band playing a rhythm action game, the composite score When a player chooses to substitute for a band, he will be based in part on the performance level associated with taken to a searching screen, where he will wait while the game each of the plurality of players within the band; asks the server for a list of bands that have a slot available for 60 instructing the display, by the game console, to display the his instrument. This search will only find sessions that have composite score on a performance meter as a perfor marked themselves as public. Once the server has returned the mance level; and list, the game will sort the list, giving highest priority to larger instructing the display, by the game console, to display bands. The game then starts at the top of the list, and attempts separately from the composite score each player score to join each session in order. As soon as a join request is 65 on the performance meter as a graphical indication posi accepted, the console joins the session and the user joins the tioned on the meter at a position corresponding to the host on the matchmaking screen. At that moment, he is a calculated player score. US 8,690,670 B2 59 60 2. The method of claim 1, wherein calculating the player player further comprises executable code for calculating a score for each player within the band further comprises cal percentage of notes correctly played by each player. culating a weighted rolling average of the performance level 13. The computer program product of claim 12, wherein for each player. executable code for calculating the percentage of notes fur 5 ther comprises executable code for weighting recently played 3. The method of claim 1, wherein calculating the player notes more heavily than previously played notes. score for each player further comprises calculating a percent 14. The computer program product of claim 10, further age of notes correctly played by each player. comprising executable code for updating the player score 4. The method of claim3, wherein calculating the percent each time a new note is performed. age of notes further comprises weighting recently played 15. The computer program product of claim 10, wherein notes more heavily than previously played notes. 10 executable code for calculating the composite score for the 5. The method of claim 1, wherein calculating the player band further comprises executable code for calculating a score for each player further comprises calculating a composite score by averaging together the player scores for weighted average of the performance levels for each player as each player within the band. measured during a particular phrase. 16. The computer program product of claim 10, wherein 15 each graphical indication corresponds to an instrument asso 6. The method of claim 1, further comprising updating the ciated with each player. player score each time a new note is performed. 17. The computer program product of claim 10, further 7. The method of claim 1, wherein calculating the compos comprising executable code for displaying the performance ite score for the band further comprises calculating a com meter as a meter having at least one subdivision, the at least posite score by averaging together the player scores for each one subdivision labeled according to a performance charac player within the band. teristic associated with a particular performance level. 8. The method of claim 1, wherein each graphical indica 18. The method of claim 1, wherein each player score and tion corresponds to an instrument type of each player. the composite score for the band use a single scale in the 9. The method of claim 1, further comprising displaying performance meter to represent a current level of perfor the performance meter as a meter having at least one subdi 25 vision, the at least one subdivision labeled according to a aCC. performance characteristic associated with a particular per 19. The method of claim 1, wherein calculating a compos formance level. ite score for the band includes applying a scalar factor to at 10. A non-transitory computer program product compris least one player score. ing code executable by a processor to display on a display a 20. The method of claim 1, further comprising indicating performance meter indicative of one or more performance 30 on the performance meter when a player fails a song. levels associated with a plurality of players in a rhythm action 21. A game console comprising: game, the computer program product comprising non-transi a controller interface to receive musical performance infor tory computer readable media having: mation from a plurality of controllers participating in a executable code for calculating a player score for each of multiplayer rhythm action game; the plurality of players playing the rhythm action game 35 a display interface to send graphical information to an within a band, each player score representing the perfor audio/video device for display; and mance level of a particular player; a processor coupled to the controller interface and the executable code for calculating a composite score for the display interface, the processor being configured to cal band playing the rhythm action game, the composite culate an individual score for each of the plurality of score based in part on a performance level associated 40 controllers participating in the multiplayer rhythm with each of the plurality of players within the band; action game through the controller interface where the executable code for instructing the display to display the individual score represents the performance level for the composite score on a performance meter as a perfor controller and is configured to calculate a composite mance level; and score for at least a subset of the plurality of controllers in executable code instructing the display to display sepa 45 the multiplayer rhythm action game where the compos rately from the composite score each player score on the ite score is based in part on a performance level associ performance meter as a graphical indication positioned ated with each of the plurality of controllers in the sub on the meter at a position corresponding to the calcu set, and wherein the processor is configured to prepare lated player score. each individual controller score and the composite score 11. The computer program product of claim 10, wherein 50 for display separately on a performance meter as perfor executable code for calculating the player score for each mance levels using graphical indications positioned on player within the band further comprises executable code for the meter at a position corresponding to the calculated calculating a weighted rolling average of the performance score, wherein the processor is configured to cause the level for each player. display of the performance meter on the audio/video 12. The computer program product of claim 10, wherein 55 device. executable code for calculating the player score for each